• Journal of Conservation Science
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• v.25 no.3
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• pp.323-333
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• 2009

The Jincheonsagongnimaaeyeoraeipsang is a great stone relief Buddha in Goryeo Dynasty, transmitting sculptural styles of the Silla Kingdom. The Buddha was carved on the biotite granite basement, and was undergone cleaning treatment in 2007. The basement rock was opened in plenty cracks bringing out structural instability. And the top of the basement rock was colonized by trees obstructing sunshine and raising humidity. As a result of failure analysis, the basement rock of the Buddha had a major possibility of wedge failure in the parts of the face, hands and cloths. Therefore, the cracks were filled up with epoxy resin L-50, and titanium bars and wire ropes were applied to bind cracked rock blocks. The surface of the crack filler was colored by granite and talc powder with inorganic pigment and L-30. The crack meters were installed on the stone relief Buddha to monitor further behavior, lastly.

• Journal of the Korean Society of Costume
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• v.50 no.7
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• pp.47-58
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• 2000

Prime Minister Kim tart-song is said to have built this cave temple in the tenth year of the reign of King Kyongdok-wang(742-765) of Unified Shilla(751). The numerous stone Buddhist images in the grotto represent the best Buddhist figure of the Unified Shilla period and of all Korea. The Sokkuram Grotto is composed of the main hall, entrance to the main chamber and antechamber in space. The main hall beyond the small antechamber is round and the ceilling is domed. Within the rotunda sits a majestic Buddha(Amitabha), 3.48m in height and 2.6m in width, carved in granite and facing east. Surrounding the main Seated Buddha are eleven-headed Avalokitesvara Bodhisattva, Manjusri Bodhisattva and the other three Buddhist images, Ten disciples, Buddhist figures in the ten Niches in relief. An eleven-headed Avalokltesvara Bodhisattva of boundless mercy is sculptured on the wall behind the main Seated Buddha. Further guarding the Buddha are ten standing Arhans of the Disciples of Buddha. Next, two Devas. one on each side, stand guard. Two Bodhisattvas are the saints who are next to the Seated Buddha in importance, also one on each side. And, There are ten niches around the dome. They contain seven seated Bodhisattvas and one Vimalakirti(the name of a famous lay disciple of the Buddha). Two niches are empty. Consequently, there are total thirty-eight Buddhist images in the Sokkuram cave temple. The Buddhist images have been reguarded as masterpieces of Buddhist art and Shilla culture of Unified Shilla in the eightth century. The Buddhist images are represented very dear, elegance and beauty of detail skill

• Korean Journal of Heritage: History & Science
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• v.45 no.2
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• pp.54-71
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• 2012

This paper investigates Buddhist sculptures of the Gulsan-sa School of Seon Buddhism, which was established by the priest Beomil(梵日) at Myeongju(溟州), present-day Gangneung(江陵) area, and prospered until the late Goryeo period. There are very few surviving Buddhist images at Gulsan2 temple-site showing the Buddhist art when Beomil or his disciples, Gaecheong(開淸) and Haengjeok(行寂), were active, except a set of huge stone pillars for temple-banners and a stone monk stupa. It is therefore necessary to focus on pieces of artworks in Gangneung and nearby areas to explore the characteristics of Buddhist art of Gulsan-sa from the late Silla to early Goryeo period. For example, the stone relief seated Buddha image, one of Four Buddhas of Four Directions, and a stone relief of standing Guardian King both from the stone pagoda at Mujin temple-site(無盡寺址) can be compared with stupa reliefs at the capital Gyeongju area in their high quality of carving. The stone octagonal base showing seven lions on each of seven sides at Boheon-sa(普賢寺) demonstrates that it was made as a part of an octagonal lotus pedestal for a Vairocana Buddha now lost. Since Boheon-sa was erected by Gaechung, a disciple of Beomil as a branch of Gulsan-sa, it is fair to assume that the Vairocana image at Boheon-sa might have been closely related to the Buddhist images at Gulsan-sa in its style and iconography. The stone seated Bodhisattva from Hansong temple-site(寒松寺址) displays a benign face, exquisite necklace, and exotic iconography in its hand gesture and high cylindrical crown. The stone seated Buddha at Cheonghak-sa(靑鶴寺), brought from a temple-site where fragments of roof-tiles with the inscription of Heukam-sa(黑岩寺) were discovered, displays the late Silla and early Goryeo period. Heukam-sa seems to have been related to Gulsan-sa or have been one of the branches of Gulsan-sa. Extant fragments of artworks at Myeongju implicate the high quality of Buddhist art of Gulsan-sa in its iconography and style as well as unique features of Gulsan-sa Seon School.

• Journal of architectural history
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• v.21 no.4
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• pp.7-24
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• 2012

The Buddhist cave temple carved into the rock provides a large space for the ritual in general in which a structure of Stupa is built in the center of the space purely for religious worship empty of Sarira, and the temple is formed around this Stupa. Relief-Stupa of the cave temple indicates the similar shape that of Relief-religious worship of flat land temple. However, there appears a small difference in representation since the background of formation of the cave temple differs in that of flat land temple. Specially, Caitya Stupa of currently existing cave temples have been damaged to lose of their original shape only possible to be analyzed the stylistic development through Relief-Stupa from which the characteristic of Stupa could be understood. The early cave temple could be characterized with a balanced structure consists of upturn bowl, steeple stone with simple drum & Hamikawasnagae, in which it appears strongly the detail factor characteristics of drum & steeple of having system with Caitya Stupa. In the post cave temple, the subject of worship moved to statue of Buddha due to the influence of Gandhara, Mathura art which reduced the importance of Stupa. This illustrates in Relief-stupa as well the style change as well as changes in detail factor. The sculpture appeared at the limited location either the wall of Caitya shrine or pillar in vihara cave with stronger decorative meaning. Contrast to the Relief Stupa of early flat land temples or the cave temples mentioned above sculptured with symbolism, however, the post cave temple showed the relief structure based on the plan of flat plan.

• 보존과학연구
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• s.29
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• pp.19-44
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• 2008

Sam-jon-bul or Three Buddha Image Carved on rock surface which is called Sam-jon-bul in Taean, state-designated national treasure No. 307, made in Baek-je Period, has two Buddha images and one Bodhisattva. The detached part of the Sam-jon-bul from wall rock has been attached through conservation treatment in 1995. Few study has been done on weathering condition of petrological point of view and damage while the surface of the Sam-jon-bul has been under serious weathering (relief) of loosing stone particles, and discoloration. In this study, it was made weathering damage maps, which show physical property of the material and state of damage of Sam-jon-bul, in order to dialogize how far the weathering has been done. It has been considered continuing on-site monitoring as necessity when Sam-jon-bul was covered with dew, which may have been caused by change in weather in and out of the protect building. It is necessary to set up detailed conservation plan for it by doing regular diagnosis on the influence of the protect building and weathering of Sam-jon-bul.

• Journal of Conservation Science
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• v.5 no.1 s.5
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• pp.41-68
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• 1996

Stone-cultural-properties, distributed In the area, have been investigated and studied on the characteristics and the rock phases in the geological and conservational point of view. Stone-Buddhas in the area can be subdivided into Maebul-, General -, and Massive rock-types according to their styles. The rocks used in these stone-cultural-properties are mainly massive, coarse grained biotite granite of the Jurassic age, which is widely distributed around the Reckon-gun area. However, quartz-feldspathic banded gneiss, marble, phyllite and hornblendite are also used. These rocks are mainly distributed in the Yongin-gun area. This suggests that the rocks used. These rocks are strongly influenced by chemical weathering so that the rock surface is very irregular with $2\~3mm$ relief. Biotite granite used shows generally weathered surface of brown color due to chemical weathering of feldspars. Moss are pervasive partly on the surface to show black and/or green colors. The strong weathering may induce secondarily to appear the igneous lineation, onion-structure, and/or minor cracks latent in the rocks. The cultural properties In the area are relatively well conserved except Maebuls and one(Duchangri 3-story) pagoda. However, one stone-buddha may be grinded recently by machine to take off the weathered surface resulting in the loss of its age and the original detailed shape. For conservation, they must be scientifically considered on the shape, kind of the rock phase and characteristics of the weathered phenomena.