• Journal of the Korean Home Economics Association
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• v.26 no.1
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• pp.1-9
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• 1988

The purpose of this study is to investigate the differences between Mathura and gandhara Buddha's costume, and to observe the types and unique style of Mathura Buddha's costume. I classified all types of Mathura Buddha's costume by and largely and researched the feature of each type and creases of costume with the focus criterion works of that. The results are followed ① dress method of pt on left shoulder ; The early years ·a statue of standing : It is traced back to kaniska 2, 3 years before ·a seated figure : It is traced back to the latter of ksatraka period than a statue of standing The expression of costume creases is a way of expressing pure Indolike of mathura peculity ② dress method of put on right and left shoulder : the latter years It can be said that there is closeness with Gandhara Buddha's costume in method of creases. Mathura is center of Buddha's statue and influences to Gandhara with each other. Also mathura has developed peculiarly and at last Mathura made the masterpiece of Buddha's statue of Gupta period to acme of the 5 century.

• Conservation Science in Museum
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• v.19
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• pp.69-82
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• 2018

The gilt-bronze standing Buddha and bronze standing Buddha statues excavated from Yeongguksa Temple in Yeongdong, currently held in the collection of the Cheongju National Museum, underwent conservation treatment after scientific study. Materials analysis showed that the gilt-bronze statue was made with a ternary alloy of copper, tin, and lead, while the bronze statue is of a binary alloy of copper and tin. The analysis also revealed that the bronze statue contains gold, and it is therefore recommended to change its description to gilt-bronze standing Buddha. The gilt-bronze statue appears to have been made with lead produced in Korea. The material observed on the surface that is presumed to have been used as an adhesive for the gold coloring is thought to be lacquer. For conservation treatment, the statues were minimally cleaned using physical and chemical methods and were treated through consolidation and protective coating.

• Journal of Conservation Science
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• v.35 no.4
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• pp.309-316
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• 2019

This study intends to identify manufacturing techniques, including casting and alloy composition, of nine metal Buddha statues excavated from archaeological sites in Bagan, Myanmar. Two Buddha statues from Pyu city state(2^nd to 9^th century) contain Cu-Sn alloy(including <1 wt% Fe), with different relatively high percentages of Sn(16 wt% and 25 wt%) identified from each Buddha statue, and no Pb detected. Five Buddha statues from the Bagan dynasty contain various alloy ratios of Cu-Sn(including <1 wt% Pb), Cu-Sn-Pb, and Cu-Sn-Zn-Pb. All Buddha statues appear to be fabricated by casting, as there is no evidence of other heat treatments. The silver Buddha statue manufactured in the 18^th century includes >1% Cu besides silver with no additional metallic components identified. The bronze Buddha statue manufactured in the Konbaung dynasty(18^th century) is of Cu-Sn-Pb alloy. The Buddha statues of Pyu was alloy of Cu-Sn without Pb including ahigh percentage of The Buddha statues of both the Bagan and Konbaung dynasties are comprised of ternary Cu-Sn-Pb alloys, with a heterogeneous distribution of lead and tin. Some of Buddha statues of the Bagan dynasty have similar alloy ratios as those of Pyu, suggesting that similar manufacturing techniques were used.

• 보존과학연구
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• s.30
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• pp.171-187
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• 2009

The Seated iron Vairocana Buddha statue of Dopiansa Temple, Cheolwon was designated National treasure No. 63, it is very important to rearch about Korean Buddha statue because it has an inscription on the back indicates that it was made in 865 A.D., the fifth year of the reign of King Gyeongmun(861-875) of Unified Silla(668-935), through the devoted faith of some 1,500 Buddhist followers of the Cheorwon-gun area. In this conservation treatment, for the Seated iron Vairocana Buddha statue of Dopiansa Temple, Cheolwon plating layer and cashew paint layer of the iron pedestal were removed and for the paint the Body of the Buddha, fake metal layer and plaster layer were removed, stabilizing treatment and coating treatment were done, and removal and restoration of earlobe which had been damaged and later was restored with plaster in the regilding in 1988, and the white hair on forehead was replaced with material of rock crystal, and conch-shaped hair damaged was restored on 35 spots.

• Korean Journal of Heritage: History & Science
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• v.47 no.1
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• pp.164-179
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• 2014

The Buddhas of the Three Words in a form of arranging Bhaiṣajyaguru and $Amit{\bar{a}}bha$ at its side based on ${\acute{S}}{\bar{a}}kyamuni$ at the center is enshrined in Daeungbojeon Hall of Daeheungsa Temple located at Haenam. So far, this Buddhas of the Three Words has been known as a wooden Buddha statue. However, as a result of X-ray screening, in left/right Buddha statues excepting main Buddha, wood and molding clay layer were observed at the same time. Therefore, this study intended to observe its internal structure, grafting method and to clarify making technique of Buddha statue during Joseon era based on image information being obtained through X-ray screening of The Buddhas of the Three Words of Daeheungsa Temple. As its result, it was revealed that form of ${\acute{S}}{\bar{a}}kyamuni$ was completed by mainly grafting 5 pieces of timber and this statue shows a typical wood grafted Buddha statue during Joseon era. Form of Bhaiṣajyaguru and $Amit{\bar{a}}bha$ were completed based on molding technique by applying clay on sculpture similar to its appearance after sculpturing more than 10 pieces of timber through its grafting. In other words, internal timber is considered to play a role of its core and grafting method of timber is more close to a technique of molding Buddha statue than to that of wooden Buddha statue during Joseon era. However, clay was directly applied on timber thinly, not applying clay thickly on it after winding straw rope on wooden core and its characteristic is that its facial area was completely composed of wooden construction only. Therefore, it is hard to rule out a possibility that the original sculpturing intention of an artist might be a wooden Buddha statue but in view of the fact that a word, 'molding' was used in a record of relics buried in statue, it could be seen that this Buddha statue might have been recognized as a molding statue at the time when creation of this statue was completed. It is considered that number of case of making statue based on this technique would be more increased when more results of X-ray screening should be accumulated and if more data should be collected, it would provide a significant evidence for identifying chronological, regional aspects of making technique of Buddha statue.

• Economic and Environmental Geology
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• v.39 no.6 s.181
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• pp.629-641
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• 2006

The Standing Buddha Statue in the Gwanchoksa temple consists of medium to coarse grained biotite granodiorite with dark grey color, and it has a week gneissosity along the pegmatite veins. The results of magnetic susceptibility and geochemical patterns of the host rock of Standing Buddha Statue and the basement rock suggest that both values are formed from the co-genetic magma with the same differentiation process. The CIAs of the basement rock and the Standing Buddha Statue are calculated to 51.43 and 50.86, and the WPIs are estimated 4.52 and 8.95, respectively. So the weathering potential from the host rock of Standing Buddha Statue and basement rock prove to be high. The Standing Buddha Statue is terribly damaged with physical weathering from deterioration and exfoliation, and are scattered with secondary pollutant and precipitate. Basement rock is also in danger of ground collapse because of irregularly developed discontinuity system. Most surface of Standing Buddha Statue is seriously discolored into yellowish brown and dark gray, or black precipitates are also formed. Moreover, it is heavily covered with crustose lichen, fungi and algae, or moss are also found. In order to control the influential factors with the complex deterioration of Standing Buddha Statue, it is needed to rearrange a site environments, and conservation scientific management is required to protect it from covering lichens, exfoliations and fractures.

• 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.47 no.1
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• pp.134-151
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• 2014

This paper deals with a review of the structure and production techniques of the Dried-lacquer Amitabha Buddha statue enshrined in Geungnakjeon Hall of Simhyangsa Temple, located in Daeho-dong, Naju-si, Jeollanam-do, Korea. To achieve this goal, X-ray date and two rounds of field research were performed. The data collected were reviewed, and a sample peeled off from the damaged part was analyzed to investigate the structure and material of the background layer. The results revealed that the Simhyangsa Temple Buddha statue was an almost empty Dried-lacquer(Hyeopjeo) Buddha statue where wood core had not been framed and inserted in the statue. It was thus observed that considering that the clothes wrinkles clearly remained, the same one as the irregularity of the outer clothes wrinkles, the Dried-lacquer layer was lifted made in an almost complete shape in the process of forming the clay figure as the origin form. The statue was found to be diagonally incised from the top of the head to the back of the neck to remove the clay and wood core. But in other sites, no incision was confirmed. It was observed that on the site of the head where the incision was made, an adhesives(lacquer or paste) was used. In addition, the black eyes were impacted with beads and the ears, hands, bands, and knots were made of wood. These features are identically shown in the Dried-lacquer Amitabha Buddha statue from Seonguksa Temple, known as a work of the late Goryeo dynasty; the Seated Dried-lacquer Buddha statue in Okura Museum of Art in Tokyo, Japan; the Seated Dried-lacquer Amitabha Buddha statue from Jungnimsa Temple, know as a work of the early Joseon dynasty; and the Seated Vairocana Buddha statue in Bulhoesa Temple, the Seated Dried-lacquer Amitabha Buddha and the Seated Dried-lacquer Buddha statue from Silsangsa Temple. The analysis of the back layer demonstrated that the ground layer and the red lacquer were the production of the time. In particular, the bone ash used for the ground layer was also coated for the ground layer of Buddha statues as well as for the production of the lacquerware during the Goryeo dynasty. It was also found that gold mending was conducted more than twice even in modern times and that the layer of the production time was well preserved despite gold mending several times.

• 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.

• Conservation Science in Museum
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• v.8
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• pp.3-11
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• 2007

There is a Seated Stone Bhaishajyaguru-Vaidurya Buddha (Medicine Buddha) which was moved from Yongjang-gye in the garden of Gyeongju National Museum. The head was cemented on the body of the statue in 1974 before its display. Recently, we have done another conservation work on the statue because microbes and the other contaminants have built up on the surface and the restored part of the statue has loosened again. By taking r-ray pictures, we have checked the structure of the statue, especially the connected part and removed old materials used for the previous restoration. We reinforced the cracked parts, cleaned the surface, and then restored the statue. We finished the conservation process by adjusting the color.