• 보존과학연구
• /
• s.24
• /
• pp.215-227
• /
• 2003

The gilt-bronze Sarira Reliquary was discovered when repairing three-stories east stone pagoda (Treasure No. 395) at Seungju-eup in Suncheon city in Jeollanam-do Province in August, 1986. Then it was appointed as Treasure in 1988. The Sarira Reliquary had been held in Seonamsa temple, but deterioration on the surface and corrosion had appeared affecting its surface detail. Consequently, the conservation treatment was carried out from November 2002 to March 2003.The corrosion and dirt on the surface of the Sarira Reliquary were cleaned with ethyl alcohol and Benzotriazole was applied to prevent further corrosion. Finally, NAD-10(Paraloid NAD-10), acrylic resin, was used to consolidate the structure. Moreover, after non-destructive analysis to confirm element of alloy, copper, gold, silver and mercury were discovered and this result tells us that it was plated with gold by amalgam. Fibers at the pedestal were examined under the microscope and identified as silk. The total height of this Sarira Reliquary is 6.0cm, the height of lotus pedestal and the roof is 2.7cm and 1.8cm, respectively. The roof and body are joined together, and the lotus pedestal can be separated, on which the octagonal reliquary is impaled. The pedestal consists of 3layers of petals and the surface is decorated with flower pattern. The reliquary is presumed to be created in the 14th century, and it becomes valuable historical material to reveal the secret of metal work in the late Goryeo Dynasty.

• Conservation Science in Museum
• /
• v.3
• /
• pp.1-7
• /
• 2001

The gilded bronze Sarria reliquary(National Treasure No. 325-1) excavated from a five story tower in Songlim Temple is considered as a very important Sarria reliquary of Unified Silla Dynasty Kingdom along with glass Sarria containers excavated in package. It was found that this Sarria container was in a very weak condition in the conservation dept. of National Museum of Korea due to the wearing of the inside wood and the decay of the gilded bronze, so a conservation treatment was conducted by focusing on the prevention of further decay and wearing. Also because there is little information about Sarria reliquary, detailed investigation by means of precision actual measurements, microscopic examination and X-ray photography was carried out.

• Conservation Science in Museum
• /
• v.13
• /
• pp.59-69
• /
• 2012

The flower type ornament of the gilt bronze palace-type sarira reliquary among those sarira reliquaries of the East Pagoda at the Gameunssa Temple Site, which is the Treasure No. 1359 owned by the National Museum of Korea, was separated from the sarira reliquary in November 2010, thus conducting conservation treatments to be done on two items including the gilt bronze palace-type sarira reliquary during the period of March-October 2011. Those conservation treatments were carried out by following the process of removing the coated areas having excessive gross and bubbles, re-coating with Incralac, and then strengthening both the cracked areas and the separated flower-type ornaments with woven glass fiber after rejoining. For those areas where removal of gloss and bubbles at the coating and adhesive areas was not possible, the gloss and bubbles were made less perceivable through matting treatment and coloring.

• Conservation Science in Museum
• /
• v.4
• /
• pp.17-21
• /
• 2003

We performed conservation treatment for the sarira reliquary from the pagoda of Hwangnyongsa temple site. The sarira reliquary is in the shape of gilt-bronze octagonal miniature pagoda. Through radiography, it was newly proved that a radial design exists on the roof part. The gilded layer was plated with amalgam. Each part was plated first before being put together. We restored the lost parts and made supports, and then assembled it in the following order: base, upper part of the base, shaft and roof part.

• Journal of the Korea Furniture Society
• /
• v.12 no.2
• /
• pp.39-47
• /
• 2001

This study was carried out to identify wood species excavated at the temple site of Backjae dynasty in Neungsanri, Buyeo. At the temple site, there were great excavations such as Backjae Incense Burner(National Treasure No.287) and Stone Reliquary(National Treasure No.288). The King Chang 13 Year carved on Stone Reliquary indicated that this temple was completed in A.D 567. Identification of wood species were as follows: The Temple building was constructed by Pinus densiflora Sieb. et Zucc. The species of the main pillar of Wooden Pagoda which preserved relics of the Buddha was Zelkova serrate Makino.

• 한국문화재보존과학회:학술대회논문집
• /
• 2001.11a
• /
• pp.15-18
• /
• 2001

The sarira reliquary excavated as a lot of fragments were restored by conservation treatment by us. The sarira reliquary was made using fine techniques such as chasing work and engraving work, etc. The analysis of base metals showed that different materials had been used on decorative parts in consideration of the casting and forging technique. Gold granules $(97wt\%\;Au)$ of the small bell were adhered by using a soldering material $(85wt\%\;Au,\;10wt\%\;Ag)$. The lead isotope analysis of lead glass $(74wt\%\;PbO)$ revealed that it agreed with the lead mine in the middle of south area in Korea.

• Journal of the Korean Society of Costume
• /
• v.59 no.6
• /
• pp.29-40
• /
• 2009

On April 28th of 2006, a set of Buddha's reliquary was excavated from the pagoda in n Nacsan Temple. According to the record, the relics were put in the pagoda in the 18th year of King SookJong in the Chosun Dynasty (1692). The present paper examines ten pieces of wrapping clothes covering reliquary found in the pagoda. They are especially precious data in the history of textiles because they were blocked off from outside and was preserved in good condition with vivid colors still remaining after more than 300 years. Of the ten pieces of wrapping cloth, five were double-layered and the other five were single-layered. They include 15 pieces of silk fabric but, excluding repeated use of the same silk fabric, the total of 11 pieces of silk fabric were examined. All 11 kinds of silk fabric were patterned, 9 of which were Satin and the other 2 were Twill. Of the 9 Satin pieces, 8 pieces were 5-end satin which had the ground of 5-end warp satin with the figure of 5-end weft satin. The remaining 1 Satin piece were more splendid with prominent figures by using warp and weft of different colors. The 2 Twill pieces used twill weave-the ground was 3-end warp twill and the figures were 5-end weft twill. Both of the Twill pieces were weaved with character patterns, partly using wrapped gold thread as supplementary weft. The patterns of 11 pieces of silk fabric include flower, dragon/phoenix, cloud, and geometric patterns. Five were flower patterns, three were dragon/phoenix patterns, two were geometric pattern, and one was cloud pattern. In addition, various treasure patterns, character patterns were utilized as supplementary patterns. The flower and phoenix patterns reflect characteristics of the textiles of the 17th century whereas check pattern and cloud pattern were very unique.

• Korean Institute of Interior Design Journal
• /
• v.16 no.4
• /
• pp.3-11
• /
• 2007

We study, in this paper, on the decorative design of the Treasure-architectural form for the Silla Buddhist reliquary and this research went through the observation on the Buddhist Reliquaries of the Song-Lim-Sa, the Eastern-Western three floor pagodas in the Kam-Eun-Sa, the three floor pagodas in the Bul-Guk-Sa and the reportedly discovered Nam-Won. The Buddhist reliquaries of these 5 Reliquaries, when compared with those of China and Japan in the same period, they worshiped the Buddhist reliquary as a Buddhist God itself and put them as a part of the architectural decoration, being installed in the construction forms. In the form and the composition of the architecture, we can see those having been designed with very detailed and brightly decorated form. The Buddhist reliquaries in the Song-Lim-Sa and Kam-Eun-Sa, the most important ones in this research, were in a royal palace shape having completely the altar part, interior space part, and the ceiling part, which inform us the whole structure of the architecture in details. In particular, for the case of Kam-Eun-Sa, the columns in the shape of bamboo trees, the expression of the gates, the terrace of double parts formed of word-shape Man, and the statue of a general with superhuman ability in the shrine explain us the description of the Gyun-Bo-Tap-Pum of Lotus Sutra. After all these researches, we conclude that the Buddhist reliquaries in form of the Treasure-architecture represented the architectural style of the same period as a form of industrial arts and we can see that they tried to use all of their highly skilled and talented methods to describe the Buddhist Pure Land.

• 한국문화재보존과학회:학술대회논문집
• /
• 2004.03a
• /
• pp.55-56
• /
• 2004

• Conservation Science in Museum
• /
• v.8
• /
• pp.71-79
• /
• 2007

The Conservation Science Team at National Museum of Korea has Reproduced the silk wrapper that was used the sarira reliquary found from Pagoda in the Bonginsa, in order to use it in the process of alternating the relics on display in the Hangeul(the Korean language) of the Historical Gallery. Silk fabric of the same texture as the original was used for reproduction. As for the process of dyeing silk fabric, fermented Indigo deposits was used for bluish color, while fruits of the alder trees were used to express the parts that have been faded into yellowish. The Korean characters(court style hangeul) written on the wrapper have been replicated through the use of Ink-stick.