• Journal of Conservation Science
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• v.34 no.1
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• pp.59-67
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• 2018

This study investigated manufacturing technique and provenance of the Gilt-bronze Seated Bhaisajyaguru (Medicine Buddha) Statue of Janggoksa Temple. The statue had the following : Cu(68.8%)-Sn(10.4%)-Pb(17.1%), it is similar to other medium or large Buddha statue. As results of comparison lead isotope ratio of sample with the provenance data were plotted in zone 3 of the South Korean galena map. According to this result of Bronze Buddha could be made into galena of the located in same area the temple. The results of this study were compared with the Bronze Bodhisattva statue of Goseongsa Temple. The manufacturing techniques were different based on the characteristics of Buddha statues and thus could be made into galena of the located in same area the temple.

• 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.

• Journal of the Korea Fashion and Costume Design Association
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• v.5 no.2
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• pp.65-74
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• 2003

The Purpose of this study is to investigate the jeogori included in the buddist statue in 1748. The jeogori was similar in shape to excavated costume of Andong Kwon, Papyung Yoon, and Chungyeongunju in 18th century. This jeogori was useful to estimate the interesting process of shape change of jeogori in 18th century. Four different silk fabrics were used in the jeogori. Outer fabrics were satin weave with floral, lattice strip, dragon, and cloud patterns. The ground area was 5-harness warp faced satin and the patterned area was 5-harness filling faced satin. An inner fabric was simple plain weave. Warp and filling yarns of all fabrics in this jeogori had no twist.

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.246-263
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• 2019

The stone Buddha statue of Sangunsa Temple at Bukhansan in Goyang, Gyeonggi Province, is an excellent example of stone Buddha statues created in the late 15th century. On the base of the figure, there is an inscription, which informs that it was produced in 1497. In recognition of this significance, it was recently designated as a tangible cultural asset in Gyeonggi-do. Thus, this paper tried to evaluate the value of the statue by analyzing iconography and style. The characteristics of a typical 15th-century style that the Buddha statue of Sangunsa Temple shows are the form of ushnisha, the way clothes are worn, the form of a w-shaped chest muscle, and the simple lotus pedestal. On the other hand, the elongation of the waist and the disappearance of the waistband on undergarments are new forms of Buddha statues in the 16th century. Besides, parting the hair in the middle of the head and leaf-shaped short ribbon draped on undergarments are unique features that only appear on the statue of Sangunsa Temple. Sangunsa has been known to be built in the early 18th century based on Bukanji compiled by Seongneung in 1745, and Bongeunbonmalsaji composed in 1943. However, the statue was created in the late 15th century, before the establishment of the temple in the early 18th century. Therefore, this paper briefly reviewed the history of Sangunsa Temple, focusing on the initial period, referring to the historical sites and the relics that were passed on to the temple, as well as the literature records. The data newly referred to in the study are as follows: Sangunsa Stone Pagoda, presumed to be from the Goryeo Dynasty; the Stone Buddha Statue of Sangunsa; Wooden Amita Triad Buddha Statue of Sangunsa. According to the data and contrary to previously-held beliefs, Sangunsa Temple is believed to have been operating since the Goryeo Dynasty. It can be inferred through analysis of the stone Buddha statue of Sangunsa Temple that the size of the Temple before the 18th century was not very large.

• Korean Journal of Acupuncture
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• v.29 no.3
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• pp.371-384
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• 2012

Objectives : The meridian system is a systematic complex of empirical knowledge, which functions as a basis of acupuncture treatment. In this article, we reviewed the visualization methods of meridian and acupuncture points through the investigation of the characteristics of Diagram of Meridians, Mingtang Diagram, Diagram of Meridians and Collaterals, Bronze Statues and Diagram of Bronze Statue. Methods : We investigated the characteristics of Diagram of Meridians, Mingtang Diagram, Diagram of Meridians and Collaterals, and Bronze Statues. We reviewed the visualization methods of meridian and acupuncture points in those classical Diagrams and analyzed their relationships among them. Results : In order to explain the meridian and acupuncture points easily, ancient people usually used drawings which are named Mingtang Diagram, Diagram of Meridians and Collaterals, by their own characteristics. Owing to their limitations of drawings on the 2 dimensional plane, Chinese people designed the Bronze Statue for Acu-moxibustion and its first invention was invented in Tiansheng age of Song dynasty. For several decades and centuries, these models and drawings were inherited, also reflecting variations of meridian system. As the Bronze Statue has a deficiency in the educational use because of its limitations of mass production, Diagram of Bronze Statue drawn on the 2 dimensional plane was invented. At the beginning of Mingtang Diagram, Diagram of Meridians and Collaterals, Diagram of Bronze Statue and Bronze Statue, their own characteristics were significantly differed with other diagrams and statues. We found that both diagrams and statues were gradually combined with description of the relationship between internal organs and the skeletal structure and the meridian system. Conclusions : Our findings suggest that Diagram of Meridians, Mingtang Diagram, Diagram of Meridians and Collaterals, and Bronze Statues are the basic form of data visualization, one of the infographics. We suggest that ancient Chinese people intend to explain the empirical knowledge using the ancient infographics of meridian system, but have limitations on reflecting theorical or abstractional meaning.

• Journal of Conservation Science
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• v.16 s.16
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• pp.39-51
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• 2004

The standing Buddha named Taehwa 4 yew in the Jincheon were sculptured with rock cliff of the dark grey shale. Front of the Buddha statue shows $N40^{\circ}W$ strike with nearly vertical dip toward the back side. Rock blocks of the Buddha statue well developed with bedding and laminations whereas rock surface distributed into the various irregular discontinuities. Sculptured lines of the Buddha were uncertain because of degradation and exfoliations on the rock surface. The surface near the Buddha statue is highly contaminated with lichen and mosses, and accelerate physical and biological weathering owing to the roots of weed and bush along the fracture systems. For the conservational treatment, we treated with primary wet cleaning by air gun and secondary cleaning treatment using distilled water. Separated rock surface and fractured parts fasten and/or fill up the boundaries of the rock blocks using epoxy resin for conservation of rock properties. Some brittle surface was treatment with water repellent consolidant of ethyl silicates, and heterogeneous surface carried out color matching by acrylic pigments. Upper part of the Buddha statue dig out small ditch for rain water drainage, and near surface of the Buddha statue treat removal works for lichen, weeds and bush. The duration capacity of the Buddha constituting rocks are degraded by various weathering factors, therefore we suggest that this Buddha statue have need to do long term monitoring and synthetic conservation researches.

• 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.

• Industry Promotion Research
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• v.5 no.2
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• pp.27-32
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• 2020

This study is a study on the size of the stone statues of the royal tombs in the Joseon Dynasty. In summary, the size of the stone statues of Moon, Inseok and Unmanned Stone increased in the 1600s and then decreased slightly in the 1700s, but increased in size in the 1800s. It was confirmed that the average analysis result. The statue of Seok-in of the Royal Tombs of the Joseon Dynasty reflects the characters of the time, and through this, the typical figures of the times can be examined. The royal tomb has consistency and uniqueness, and the norms regarding the size of stone statues have changed over time. As a building of the authoritative symbol of the ruling class, it was a national construction where royal tombs were built according to rituals and laws. It is said that the size of the stone statues in the Joseon Dynasty was about 90cm smaller than the stone statues of the tombs. In this study, the significance of this study is to confirm the stone size of each stone age in the royal tomb of Joseon.

• 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.23
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• pp.1-16
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• 2020

In this paper, Gilt-bronze Standing Avaolkiteshvara (National Treasure No. 293, M355) excavated at Gyuam-ri in Buyeo was observed with a microscope to identify the production technique applied to it. It was also analyzed with XRF and hard X-ray to identify the composition and the surface treatment techniques and casting method applied. In this statue, Avalokiteshvara is standing upright on a lotus pedestal. The lotus designs on the pedestal and those on the shawl flowing down on both sides of the statue are characteristic of Buddhist statues from the seventh century or later. The use of supports to affix the outer and inner molds and traces of injected cast were observed in the interior of the pedestal. The blisters on the arms and pedestal created during the bronze casting indicate the use of lost-wax casting, which was popularly employed for the production of mid- or small-sized gilt-bronze Buddhist statues in ancient times. The composition analysis identified a copper-tin-lead ternary alloy in the interior of the statue that was conventional used in the sixth and seventh centuries. It is likely that this simple alloy was used to facilitate casting and produce clearer expressions of designs and ornaments on the statue. Mercury (Hg) was detected on the surface of the statue, indicating the use of amalgam-plating with gold (Au) dissolved in mercury. This plating method is a common surface treatment technique used for small gilt-bronze statutes in ancient Korea.