• Journal of the Korean Society of Costume
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• v.64 no.5
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• pp.141-153
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• 2014

Buddhist articles from various periods in the Vairochana Buddha statues, which are currently housed in the Haeinsa Temple's Supreme Buddha Hall and Beopbojeon Hall. This research concentrates on the artifacts found inside the storage boxes, which was placed inside the Buddha statues in 1490. A total of 24 pieces of fabric articles found inside the Virochana Buddha in Beopbojeon and 213 pieces from the Supreme Buddha Hall were examined. The types of textiles are as follows: bast fiber, silk, cotton, and union cloth. Bast fiber consisted of ramie and hemp. For silk, tabby woven with plain weave, spun silk, and thin tabby were found. And twill damask made with twill, Sa and Ra with the leno weave, and satin damask made with the satin weave were also found. Also the two Jeogoris and three Jogakbos were found, the one Jeogori was made with Hwan. The Buddhist articles in the Vairochana Buddha of Haeinsa have been preserved well and its colors have remained virtually the same from the time of its original placement. Therefore these articles are very important in understanding the textile characteristics, weaving techniques, dying techniques as well as traditional colors.

• Journal of Conservation Science
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• v.36 no.6
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• pp.562-577
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• 2020

In this study, to conserve the clay seated Vairocana Buddha triad in Seonunsa temple, Gochang (Treasure 1752), the primary materials employed for creating the clay Buddha statues were scientifically analyzed. By analyzing the soil layer constituting the Buddha statues, it is observed that the said layer comprises sand having particle size greater than that of medium sand and soil having particle size smaller than that of fine sand, which were used in a ratio of 7:3, along with the bast fibers of paper mulberry (Broussonetia kazinoki). Hence, the aforementioned soil layer is composed of a mixture of sand and weathered soil, along with bast fibers to prevent scattering. By analyzing the tree species, it is found that the wooden materials constituting the bottom board and the interior of Buddha's sleeves of the Amitabha Buddha statue, Vairocana Buddha statue, and Medicine Buddha statue are hard pines (Pinus spp.). Additionally, three layers are found in the cross section of the gold layer. Furthermore, each of the hair sections of the Buddha statues is composed of earthy materials such as quartz, albite, microcline, mica, and magnetite, and the hair surface was painted by incorporating black materials containing magnetite.

• Conservation Science in Museum
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• v.31
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• pp.1-20
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• 2024

The "Buseoksa Temple Gwaebul" (1684, K969) in the possession of the National Museum of Korea is a large Buddhist hanging scroll produced for outdoor rituals (gwaebul) at the eponymous temple. The painting demonstrates the most complex composition among the existing Buddhist hanging scrolls as it depicts the Shakyamuni Buddha in the lower middle, surrounded by the Vairocana Buddha, Medicine Buddha, and Amitabha Buddha. This study examines the characteristics of the background fabric and the production methods of the scroll from Buseoksa Temple and explores the characteristics of the coloring techniques by integrating the results of a non-destructive analysis to determine the materials used for coloring. The gwaebul comprises a total of 13 panels, with 11 panels arranged side by side and one panel each added to the top and bottom. The background fabric of the painting consist of semi-transparent silk tabby for the nine panels in the center, and silk tabby for the four panels surrounding the four sides. The coloring materials used to paint the scroll were analyzed using X-ray fluorescence, and were confirmed to be inorganic pigments of red, yellow, green, blue, and white. For some parts painted in yellow and blue, the colors were expressed by first applying light white pigment before adding organic pigments. In addition, ink was used for the black lines and gold leaf was used for the patterns of the Buddhist robes. X-ray irradiation enabled the determination of the location and technique of coloring according to each pigment color by highlighting the difference in brightness depending on the main component and the thickness of each pigment.