• Journal of the Korean Society of Costume
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• v.38
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• pp.159-178
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• 1998

Genres of the modern arts are expanding the overlapping area between the arts ; ceramics and weaving considered as crafts are devel-oped to the ceramic art and the fiber art, re-spectively. This trend has been also applied to the clothing part, which produced several new terms such as‘art to wear’,‘unwearable art’,‘clothing sculpture’and so on. As following this tendency, the unwearable art is dwelling on the boundary of painting, fiber art and scul-pture, and the clothing sculpture comes from the combination of fiber art and sculpture. While Issey Miyake's dress made of bamboo and Foltuny's pleats dress associated with Greek stone-column introduce the sculpture to the functional fashion design, the works of clothing sculpture become the arts by applying the sculpture to the non-functional unwearable art. Although the clothing sculpture is an interesting subject to be studied continuously for its effect on the contemporary clothing part, it is valuable enough as an unwearable art and sculpture respresenting the artist's concept under the circumstance that the boundary between arts and design is no longer clear, i.e., the clothing and the sculpture come across their regions each other. Furthermore, the clothing sculpture has its own value as a metapor exposing idea, feeling and spirit of the artist in the genre of the unwearable art. With a view point of the abstract clothing concept, the clothing sculpture has been taking the role expanding the clothing to the world of fine art.

• Conservation Science in Museum
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• v.17
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• pp.85-100
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• 2016

The Bukji-ri Stone Pensive Bodhisattva of Bonghwa in the collection of Kyungpook National University Museum was transported to the National Museum of Korea for display in a special exhibition('Masterpieces of Early Buddhist Sculpture 100 BCE - 700 CE') and therefore underwent conservation ahead of the exhibition's start date. The stone sculpture had visibly encrusted surface dirt, granular disintegration and fissures upon arrival. Notably, a crack running obliquely across its lower half rendered the object unable to support its own weight without a pedestal, so one was created in order to maintain the sculpture in an upright position while on exhibition. The sculpture was further examined using a polarizing microscope and a stereoscopic microscope. SEM-EDS resulted in petrographic analysis of the stone's mineral composition and identification of its surface contaminants. Polarizing light microscopy confirmed biotite granite as the main mineral component of the object. Several urethane resins cast in round cross-sections were inserted into the newly made pedestal and stability tests were perform to measure the frictional force of the resins. An additional test was performed to compare urethane resin and epoxy resin, with results showing urethane to have a higher coefficient of friction. Utilizing a pedestal with urethane resin effectively ensured the stability of the Bukji-ri Stone Pensive Bodhisattva of Bonghwa during the aforementioned exhibition.

• Korean Journal of Heritage: History & Science
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• v.45 no.1
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• pp.34-51
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• 2012

Jangneung (the Royal Tomb of King Danjong) and Sareung (the Royal Tomb of Queen Jeongsun) are simple in their design and layout. Not only are the sizes of the stone statues small, but stone soldiers are not installed at all despite the fact that Danjong at one point served as the King of Joseon. Moreover, only a pair of seoksu (stone animal) is installed for each Tomb. These royal tombs were originally made as common tombs and later upgraded as Royal Tombs when Danjong's royal status was reinstated posthumously in 1698. Thus, in comparison to royal tombs in general, the scale of these tombs is by far modest. For this paper, archival records and other literature for the burial upgrade process and the stone sculptures are examined; also, the stone sculptures have been examined and measured on-site, and they have been compared and analyzed based on the data thus obtained. Furthermore, this paper traces the historical context of the period in which the simplification of the stone sculptures took place for Jangneung and Sareung. The paper argues that the cause of the modest scale lies not so much in the fact that King Danjong had been dethroned as a commoner, but in the cataclysmic famine and epidemic that swept the country during the time when the two royal tombs were upgraded as such.

• SUVANNABHUMI
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• v.7 no.2
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• pp.155-175
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• 2015

This paper will reveal the legacy of women in the Bagan Period (10th to 11th century A.D.) traced through the early evidences of female figures that could only found in the stones of KyaukkuUmin and in the terracotta of Shwesandaw and Phetleik temples. There have been some writings on the women of the Bagan Period from different perspectives. The role of women from the Bagan Period mentioned in different records and as empowerment of Myanmar Women in the past will be analyzed. Through these female images and other unearthed artifacts found in Bagan, portrayals of womanhood in Myanmar early sculpture will be studied. The role of women in the Bagan will be observed by looking closely at what remains of the sculptures, as well as the craftsmanship applied to the works, which are usually in terracotta, wood, or stone.

• Korean Journal of Heritage: History & Science
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• v.41 no.1
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• pp.79-97
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• 2008

Since now, the study on the Goryo royal tomb has been insufficient because of the realistic restriction. Goryo royal tombs are mostly located in Gae-sung, the capital of the Goryo Dynasty and we don't have possibility to see them actually. And also the Study on stone figures which has been closely related with the structures of the royal tomb has limited in Unified Silla and the Choson Dynasty period. So in this paper I have examined Stone figures of the royal tomb in Gangdo period with the target on five Goryo royal tombs of that period. In the result of this study, the royal tomb system in Gangdo period was more streamlined than that of the previous period. For example, facilities such as the railing stone or a folding screen stone were simplified. And sculpture Came to be smaller than after that perial. Also Icon of sculpture changed. It is presumed that this change was because of the anxious situation of Gangdo period with politic and social.

• Journal of the Korean Institute of Landscape Architecture
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• v.31 no.6
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• pp.28-40
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• 2004

The purpose of this study is to identify the characteristics of monuments in the Seoul Foreigners′ cemetery at Yanghwajin, a place where many prominent Christian missionaries and other Christians have been buried near Choltusan. In considering the characteristics of gravestone details, the researcher has divided the details into 4 analysis categories: forms, symbols, epitaphs, and materials. For this research, 281 monuments were selected including 68 of missionaries, 26 of U. S. Army Soldiers, and 13 of teachers. The analysis revealed that there were 26 types of monuments. This includes simple and standardized types like the tablet, headstone, marker, and monolith. These were used more often than other shaped types such as the Cross, obelisk, sculpture, etc. Standardized types made in Korea have been preferred after the 1950s even though the beauty of the gravestones has been degraded. Symbolical decorations related to religious, social, professional or military emblems were also introduced to strengthen their symbolical objectives. Among them, fie Cross was the most predominant Christian symbol and emblem. The families wanted to inscribe epitaphs, the greater part of which originated from the Bible, poems, idioms related to tribute, rest, supplications to deity, love, achievement, to express human sentiment and religious faith. When using materials for making monuments, monument makers have mostly used stone because of its durability. Until the 1950s, various stones had been used to make monuments, for most marble and granite were brought from foreign countries. These were very different from the Korean white marble stone used for many monuments. After the 1950s, the source of stone has been limited to Korean stone, for Korean could make stone monuments that foreigners were agreeable. Especially, a black marble stone called "O-Suk" which means black stone, has been used as a main material. The study identified the following characteristics of monument details in the Seoul foreigners′ cemetery at Yanghwajin. First, Christianity has been applied as the main concept, while symbolizing the homogeneity of religious, family, social, professional or military groups by having the symbolic form, symbol, and epitaph in common. Second, monuments made after the 1950s have been standardized into unattractive and monotonous forms by the limited materials, and so the beauty of the monuments has been degraded.

• Journal of Conservation Science
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• v.34 no.3
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• pp.235-244
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• 2018

The forms of stone cultural properties vary depending on the purpose of construction. In general, pagodas and statues of the Buddha (including the Maebul) are representative of stone cultural properties and demonstrate important aspects of cultural history and scientific technology. The purpose for which cultural properties were constructed may influence construction technologies, so we must carefully think about and clearly understand the purpose of construction, namely the cultural and/or philosophical history, when conducting conservation treatments now. This may be examined through the relationship between "why?" and "how?": Why did the builders construct these stone cultural properties, and how did they use such technologies? We may be deeply impressed by the form and delicacy of the sculpture, which is the "how" aspect of the technologies, but we must also understand the effect of the "why." namely the soul and/or spirit of those who created the properties. The form of stone cultural properties may be influenced by (1) the political-social sphere, (2) religion, or (3) the cultural history of the period, which have changed over time. It is important that this is the view taken in current conservation treatment.

• 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.

• 보존과학연구
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• s.13
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• pp.14-36
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• 1992

The investigation has been made on the rocks consisting the pagoda(12), Buddhist Statues(9) Buldaejwa and cakra(2, rewpectively), stele(5), and Flagpole wupport and stupa(6) which are stood in Weonju city, Weonju-gun, Hwoengseong-gun and Hongcheon-gun, Kangweondo. These rock-monuments range mostly in age from late Shilla Kingdom to middle Korye Kingdom. The geology around this region is mainly composed of Precambrian metamorphic rocks and mesozoic granitic rocks. The granitic rocks are largely divided into Jurassic and cretaceous ones which are slightly different in rock phase. The main rock phase consisting the monumentsare are coarse biotite granite with minor amount of hornblende in Jurassic age. Variation in rock phase is abserved even in part of the stone used in the monuments. Inclusions composed of biotite and hornblende, porphyritic texture with microcline phenocryst, igneous lineation and exfoliation according to weathering are observable in all rocks in these monuments. In the case of stele whose a body and a capstone is remained, one is composed of black slate and the other white limestone. But the turtle shaped pedestal is constituted of coarse biotite granite. These stone-monuments are strongly weathered and exfoliated out about 1∼2mm.In case of exfoliated weathering along igneous lineation, some are taken off about 3∼5mm thick. In some monuments, the degree of weathering is somewhat different according to position, grade of sculpture, and biological activity.

• Korean Journal of Heritage: History & Science
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• v.35
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• pp.100-118
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• 2002

Originally, Gyeongcheonsa pagoda was located in Busosan, Jungyeon-ri, Gwangdeok-myeon, Gaepung-gun, Gyeonggi-do,but it has suffered from being taken out to Japan illegally in 1907 and being returned to Korea in 1918. After returned to Korea, Gyeoncheonsa Pagoda had been neglected and restored in 1960. It had been exhibited outside the Gyeingbokgung Palace after restoration, but many problems were raised. It was taken to pieces in 1995 and it is conservation and restoring today. However, the top of pagoda is necessary to be researched about its archetype because the shapes of stupa in 1902 and in 1960(the shape of pagoda after restoration) are all different from its archetype. According to picture datum in 1902, the top of pagoda was a Korean building type on a 10 layered roof stone. On the other hand, when it was restored in 1960, cement suspected as a anda was taken place between Korean building type and a 10 layered roof stone. Therefore, I am going to examine Restoration of Gyeongcheonsa pagoda in this thesis. When we examine historical records of Geongcheonsa and datum of parts, we can know that the pagoda was established in 1348(Goryeo Dynasty) but it is difficult to know the truth of its establishment and demolition of Gyeongcheonsa-temple. Three ways to restore the top of the pagoda of Gyeoncheonsa Pagoda can be c o n s i d e r e d . First, Korean building type made by metals is located on a 10 layered roof stone, which is same to picture datum in 1902. Second, the shape of and a type, which is similar to the shape when it was restored in 1960's. Also it is similar to Lamapagoda type. Third, to restore the top of pagoda of gabled roof type, which is similar to the top of pagoda of Wongaksagi P agoda. However it is necessaray to exmamine functions about circle grooves hollowed out in a 10 layered roof stone in restoration. Also we need to find out the archetype of dragon sculpture through the dragon claws left on an edge of a 10 layered roof stone.