• Journal of Conservation Science
• /
• v.26 no.1
• /
• pp.43-60
• /
• 2010

This study was investigated quantitative and objective making techniques for molding clay of Four-guardian statues in Songgwangsa temple. Also, basic data about the provenance of molding clay was acquired for the restoration using same materials when the conservation treatment is carried out. As a result, molding clay used the Four-guardian statues was identified the very similar soil regardless of layers and objects. But molding clay differed in particle sizes and contents of organic matters according to the first layer to finish layer in relatively thick parts. Also, it was used one kind of soil without the layer distinction in thin parts. The restoration soil was applied to genetically similar soil as molding clay of the Four-guardian statues, and showed a difference of careful selection degree according to the layers. As a result of the provenance interpretation, the soil distributing presumed provenance was confirmed the same origin as molding clay. Therefore, the soil is appropriate for the materials of conservation treatment. This result will contribute inorganic material research and conservation treatment for the clay molded Four-guardian statues in Korea.

• Journal of Conservation Science
• /
• v.37 no.1
• /
• pp.43-54
• /
• 2021

In this study, a scientific analysis of the gold leaf layers and internal structure of the Clay Seated Vairocana Buddha Triad in Seonunsa Temple, Gochang (Treasure No. 1752) was conducted. The surface of the Buddha statues is a gold foil, and the gold leaf layer consists of four layers. The gold leaf layer first composed on the molding clay was produced in the order of lacquer-fabrics-lacquer-gold foil. Subsequently, it was confirmed that the work was performed three times in the same way. The composition of the Buddha statues was divided into the head, body or upper body, lower body, and pedestal. The body was made in a cylindrical form by connecting vertically oriented wooden materials, and the head and lower body were also connected to the body in an empty form. Thus, the head, body, and lower body are grafted structures that are connected to a single Bokjang-gong. It was confirmed that the Clay Seated Vairocana Buddha Triad in Seonunsa Temple was made using wood materials for the basic form, after which the detailed form was created with molding clay, and the surface was finished with a process of layering gold foil and substances presumed to be lacquer.

• Journal of Conservation Science
• /
• v.28 no.2
• /
• pp.101-112
• /
• 2012

The Donggwanwangmyo Shrine was built in the period of Joseon Dynasty in 1602. There are Clay Statues (Gwanwo, Jangbi, Woojanggun, Juchang, Jojaryoung and so on) enshrined in the inside of the main hall. Original color of these Clay Statues are deteriorated by inorganic pollutant like dust. And the origanal forms were damaged during several process of restorations and repaintings. This study carried out XRD, SEM-EDS, P-XRF and chromaticity measurement for characterization of pigments which painted on Clay Statues. As a result, cinnabar, hematite and red lead were used to paint in pigments for the red and brown colors. Light red pigment was made by gypsum with these minerals that make colors. Graphite and gold were used to color of black and gold pigment, respectively. Green pigment is identified of malachite, atacamite and glauconite. Blue pigment which is clearly painted on Clay Statues is interpreted a morden industrial pigment that were painted at repair work. White pigments are detected calcite, gypsum and silver white. Orpiment and litharge were used to color of yellow and light yellow pigment.

• Journal of Conservation Science
• /
• v.29 no.1
• /
• pp.35-45
• /
• 2013

The Clay Statues of Donggwanwangmyo Shrine (Treasure No. 142) are highly damaged physical weathering which are crack, exfoliation. Pigment of surface are discolored by chemical weathering like dust. The result of ultrasonic velocity measurement, low velocity zone was measured the lowest part of Woojanggun Statue. Deficiency condition of pigment layer was evaluated quantitatively through infrared Thermography. As a result, exfoliation part was detected at high temperature. Making techniques of the Clay statues were identified by gamma rays, infrared TV, SEM. All Clay Statues were founded on wood base and joints of wood were fixed using thin iron wires. After wood base was twisted a straw rope, it was made by clay. Clay was blended with rice straw to prevention of crack and exfoliation. The upper side of clay layer was coated with Hanji(Korean handmade paper) and cotton in order to isolate the pigment layer.

• Journal of Conservation Science
• /
• v.28 no.4
• /
• pp.353-366
• /
• 2012

This study was interpreted the making techniques of the Four Guardian Statues in Wanju Songkwangsa Temple, and retained basic data necessary for conservation treatment and restoration of the same material by estimating the soil source. The molding clay used in the Statues showed a variety of material characteristics according to different layers. The first and mid layers estimated as the original molding clay are composed of the same kind of soil. The soil of the finish layer was also confirmed to be genetically similar to that of the first and mid layers, despite little discrepancy. The former restoration layer was inconsistent in material characteristics with the original molding clay in every result of analysis. As a result of gamma radiography, making techniques of the Statues were able to identify the figure of the frame connecting the woods of main pillar frame to sub-frame and steel wire with ㄷ-clamp, nails and straw ropes, and the molding clay constructed upon the frame. Meanwhile, provenance interpretation confirmed that the soil of the estimated provenance area is of the same origin as the soil of the finish layer, and therefore is an appropriate material for conservation treatment. This result will contribute to the research on making techniques of the molding clay Statues.

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

• Korean Journal of Heritage: History & Science
• /
• v.46 no.3
• /
• pp.172-193
• /
• 2013

This study examines the production techniques and raw materials shown in the Korean dried-lacquer statues of Buddha through a careful observation of the Seated Dried-lacquer Bodhisattva Statue from the late Goryeo Dynasty which is currently possessed by Okura Museum of Art in Tokyo. As a method of study, the X-ray data and the results from a field survey were combined to analyze the production techniques and the characteristics of raw materials. Based on this analysis, a hypothesis was established on the production process and verified through a reenactment of the actual production process. Then, the characteristics of the techniques applied to each process and the raw materials were recorded in detail. Specifically, the dried lacquer techniques and the raw materials were estimated based on the results of naked-eye observation in comparison with the literature, especially the records of "Xiu Shi Lu" written by Huang Cheng of the Ming Dynasty which is considered as 'the textbook of lacquer techniques.' The raw materials used in the production of the traditional Korean lacquerware inlaid with mother-of-pearl were also referenced. As a result, it was found that the features of production techniques and the raw materials found in the Statue at Okura Museum of Art have many similarities with those of the Seated Dried-lacquer Statue of Lohan (Arhat) from Yuanfu 2 Nian Ming (1098) of the Song Dynasty which is currently at the Honolulu Museum of Art. In particular, the similarities include that the interior of the statue being vacant because the clay and the wood core were not replaced after being removed from the prototype, that the complete form was made in the clay forming stage to apply the lacquer with baste fiber fabric, that the clay and the wood core were removed through the bottom of the statue, and that the modeling stage was omitted and the final coat over the statue is very thin. Additionally, decorating with ornaments like Bobal and Youngrak made of plastic material was a technique widely popular in the Song Dynasty, suggesting that the Seated Dried-lacquer Bodhisattva Statue in Okura Museum of Art was greatly affected by the production techniques of the Dried-lacquer Buddha Statue from the Song Dynasty. There is no precise record on the origin and history of the Korean Dried-lacquer Buddha Statues and the number of existing works is also very limited. Even the records in "Xuanhe Fengshi Gaoli Tujing" that tells us about the origin of the Dried-lacquer Buddha Statue from the Yuan Feng Period (1078~1085) do not indicate the time of transmission. It is also difficult to trace the clear route of transmission of production techniques through existing Dried-lacquer Buddha Statues. Fortunately, this study could at least reveal that the existing Dried-lacquer Buddha Statues of Korea, including the one at Okura Museum of Art, have applied the production techniques rather differently from those used in the production of Japanese Datsukatsu Dried-lacquer Buddha Statues that have been known as the standard rule in making dried-lacquer statues of Buddha for a long time.

• Korean Journal of Heritage: History & Science
• /
• v.54 no.3
• /
• pp.168-191
• /
• 2021

This article examines the shape, iconography, and creation date of the Four Buddhist Heavenly Kings (Sacheonwang 四天王) enshrined in the Heavenly Kings' Gate (Cheonwangmun 天王門) of Hoeamsa in Yangju, Gyeonggi Province during the early Joseon Dynasty. First, small fragments of clay decoration excavated from a fourth-platform gate site of the Hoeamsa Temple Site in Yangju Gyeonggi Province were analyzed and compared to other Four Heavenly Kings enshrined in the (Cheonwangmun gates) during the Joseon Dynasty. In addition, the size and shape of the gate were compared to other Cheonwangmun gates constructed during the Joseon Dynasty. Results revealed that the excavated fragments were part of the armor of Sacheonwang, and the clay-standing statues enshrined in the fourth-platform gate of Hoeamsa Temple would be proportional in size to those of Beopjusa Temple in Boeum, South Chungcheong Province. The flame-type pieces, which decorated the Heavenly King's crown in the Joseon Dynasty, and the rectangular-type pieces were not found in artifacts from the Goryeo Dynasty. Therefore, the Sacheonwang sculptures of the Hoeamsa Temple were likely made in the late 15th century in the early Joseon Dynasty. A detailed iconography of the Sacheonwang of Hoeamsa is presumedly based on the Buddhist paintings and illustrations of Buddhist scriptures (Gyeongbyeonsangdo 經變相圖)from the late Goryeo and early Joseon. During the late Goryeo Dynasty and early Joseon Dynasty, Traditional iconography from Goryeo and new iconography from Ming coexisted. However, in the late 15th century, the Sacheonwang statues of the early Joseon Dynasty had many different elements from those of the Goryeo Dynasty and were similar to those enshrined in Cheonwangmun Gate during the Joseon Dynasty. The Four Heavenly Kings of Hoeamsa Temple, believed to have been produced in the late 15th century, has historical significance in the following points. They were the first Joseon Sacheonwang statues example enshrined in the Cheonwangmun gate. In addition, they were established as a new tradition that influenced the iconography of the Four Heavenly Kings during the Joseon Dynasty.

• Korean Journal of Heritage: History & Science
• /
• v.45 no.1
• /
• pp.122-147
• /
• 2012

The Four-guardian statues in Song-gwang buddhist temple, Suncheon, Korea, have been remade in AD 1628 and have been repaired and repainted over several times since then. Therefore, the study of the pigments applied on the statues can provide good chance for investigation about pigments used in the late Chosun Period. Pigments on fragments from Gwang-mok(Virupaksha), one of the Four-guardian statues, have been analyzed by optical microscope, SEM-EDX and XRD in order to identify the components and compounds. Six types of materials were found from the fragments, which are soil layer with brown clay band, soil layer containing a lot of fibers, Korean paper with loose texture, Korean paper with dense texture, silk, and hemp textile. Presumably, the soil layer which have brown clay band is basis layer and the other layers are repaired layers. From comparative study for the components of the pigments, applied on upper and lower parts of the repaired layers, we have concluded that those repaired layers had been applied on the statue by the following order; basis layer ${\rightarrow}$ Korean paper with loose texture ${\rightarrow}$ soil containing a lot of fibers ${\rightarrow}$ silk ${\rightarrow}$ hemp textile and Korean paper with dense texture. In addition, the years that those materials were applied on the statue have been estimated as 1720~1891, 1926, 1946 and 1976, respectively. The distinct features of each age are as the following; lead white and copper chloride hydroxide are major white and green pigments before 1891, zinc white, barium white, emerald green, and ultramarine blue appear after 1926 and titanium white uprises around 1976. Our result presented here, study on pigments applied on traditional statues over several different periods, will provide good database for future study on pigments used for traditional painting in Buddist temples and Dancheong.

• The Research Journal of the Costume Culture
• /
• v.12 no.6 s.53
• /
• pp.1060-1069
• /
• 2004

We can study and judge the costumes of the Three Kingdom period through an ancient tomb murals and various burial mound(clay) figures, however, it is quite difficult to search for costumes of the Goryeo period ($960{\sim}1392$), because dresses from this era were rarely found, related antiquities are limited and hard to survive. This is the reason why people say that the Goryeo Dynasty is the period of undiscovered era for its history of costumes in Korea. Fortunately, these days, there are various kinds of buddhist statues discovered with its burial accessories such as costumes and dyed fabrics of the Goryeo era. Through these, we can glimpse through the Goryeo cloths and develop our researches on this field. In addition, a man called Seo Geung(서긍, the Chinese scholar Xu Jing) wrote a book in the 12th century about peoples lives in Goryeo and in this book, there are few documents about the people's costumes which help us to understand the period's traditional dresses. In this paper, we will look for the traditional costumes which were formed and developed through people's lives in Goryeo, using remains from various burial accessories in buddhist statues as well as the documents related to the costumes written in ${\ll}$Goryeosa 고려사${\gg}$. Moreover, costumes of a period usually developed and influenced by the atmosphere of people's lives both economically and mentally, therefore, in this study, we will especially focus on the dresses of the bureaucratic officials and their wives, who led comfortable lives and latitude of mind. Through the records, like Silla, Goryeo exported Sehjeo(세저) and Sehjoongmapo(세중마포) to China. And we found out that Silla's skillful weaving techniques of hemp and ramie cloths were succeeded to Goryeo. According to above facts, Goryeo people made clothes with various kinds of fabrics such as, different sorts of silks, ramie, hemp cloths and cottons. They also have very skillful manufacturing techniques for certain textiles. Their official robes were generally influenced by Tang and Song Dynasty, but, like ordinary people, we found out that the government officials also wore baji(pants) and a jeogor(jacket), which were traditional costumes since the Unified Silla Kingdom with various coats. Especially, women's costumes such as jeoksam(unlined summer jacket) and hansam(한삼), which are sort of jeogori(jacket), baji(pants) and chima(skirts) were made of various kinds of silks and ramie cloths, that were generated from the Goguryeo Kingdom, with jikryeongpo(a long jacket and striped skirt).