지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
A sedentary statue of the Amitabha Buddha made with dry lacquer technique is enshrined in daeungjeon Hall of Seonguksa(善國寺) Temple located in Gyoryongsanseong(hillfort), Namwon city, Jeollabuk-do, Korea. The dry-lacquered sedentary statue of the Amitabha Buddha in Seonguksa (hereinafter called statue of Buddha in Seonguksa) is characterized by magnificent stature, balance of proportion of each part, and figurativeness abundant in voluminousness overall. The time when the statue was made was presumed to be the late Goryo dynasty through comparison of dress type, sengqizhi(僧祇支) accessory, and type of representing belt knot to tie clothes(裙衣). The statue of the Buddha in Seonguksa is dry-lacquered statue of the Buddha in the late Goryo dynasty and has important value making it possible to grasp the type of techniques at the time when drylacquered statues of Buddha were actively made in Korea.
For the dry-lacquered sedentary statue of the Amitabha Buddha in Seonguksa, its structural characteristics were open to the public through X-ray scan of 10 Korean dry-lacquered statues of Buddha in Cultural Heritage Administration and Research Institute of Buddhist Cultural Heritage. However, analysis and investigation through the collection of sample from cultural heritage is impossible. So, questions about what material was used for Korean dry-lacquered statue of Buddha and how it was made remained. Furthermore, it is impossible to check the written record and transmitted surviving tradition of making the Korean dry-lacquered statue of Buddha and its materials. So, there are limitations of study on production technique. Based on being aware of the above-mentioned problem, this study tried experimental approach in order to understand the technology and materials of which the dry-lacquered statue of Buddha is composed for the statue of the Buddha in Seonguksa.
In particular, this study made an analysis, focusing on the time of the finishing coat inside the statue, materials of nabal(螺髮) and adhesive, and technique for clothes(裙衣) belt knot and sengqizhi(僧祇支) accessory, type different from that of statue made of other materials. First of all, this study checked the type of statue of the Buddha in Seonguksa and production traces shown in the present condition, and examined the characteristics of materials and production technology. This study tried to illustrate the production technology of statue of the Buddha in Seonguksa through verifiable experimental analysis based on investigation into material and production technology.
With regard to materials and mix ratio of sengqizhi(僧祇支) accessory and clothes(裙衣) belt knot of statue of the Buddha in Seonguksa, the mix ratio of lacquer:water:soil powder:wood powder=2:1:4:1(lacquer25%:water12.5%:soil powder50%:wood powder12.5%) was deduced by experimental analysis, focusing on efficiency of work, curing rate, surface crack level and durability. Besides, the material of nabal attached to the statue was presumed to be wood by an analysis of characteristics of material, which were shown in the present condition and X-ray scan data. In the results of comparison after testing the materials with which the nabal was bonded on the surface of upper garment on the basis of adhesives’ volume, curing rate and persistence of adhesive strength, there was the strongest possibility of applying glue. Besides, with regard to the time when a finishing coat was applied inside the statue of the Buddha in Seonguksa, it was possible to infer that the finishing coat was applied inside before bonding the head part when the statue was made in consideration of production traces.
This study tried to analyze the production technology of statue of the Buddha in Seonguksa from the viewpoint of material properties and production technology characteristics. A study on production technique for cultural heritage becomes a basis of working for handing down traditional technology, and has academic value making it possible to newly understand traditional production technique. It is thought possible to more clearly identify the production technology of dry-lacquered statue of Buddha if various kinds of data are accumulated as an investigation of Korean dry-lacquered statue of Buddha is carried out from the optical and humanities perspective in the future.
For the dry-lacquered sedentary statue of the Amitabha Buddha in Seonguksa, its structural characteristics were open to the public through X-ray scan of 10 Korean dry-lacquered statues of Buddha in Cultural Heritage Administration and Research Institute of Buddhist Cultural Heritage. However, analysis and investigation through the collection of sample from cultural heritage is impossible. So, questions about what material was used for Korean dry-lacquered statue of Buddha and how it was made remained. Furthermore, it is impossible to check the written record and transmitted surviving tradition of making the Korean dry-lacquered statue of Buddha and its materials. So, there are limitations of study on production technique. Based on being aware of the above-mentioned problem, this study tried experimental approach in order to understand the technology and materials of which the dry-lacquered statue of Buddha is composed for the statue of the Buddha in Seonguksa.
In particular, this study made an analysis, focusing on the time of the finishing coat inside the statue, materials of nabal(螺髮) and adhesive, and technique for clothes(裙衣) belt knot and sengqizhi(僧祇支) accessory, type different from that of statue made of other materials. First of all, this study checked the type of statue of the Buddha in Seonguksa and production traces shown in the present condition, and examined the characteristics of materials and production technology. This study tried to illustrate the production technology of statue of the Buddha in Seonguksa through verifiable experimental analysis based on investigation into material and production technology.
With regard to materials and mix ratio of sengqizhi(僧祇支) accessory and clothes(裙衣) belt knot of statue of the Buddha in Seonguksa, the mix ratio of lacquer:water:soil powder:wood powder=2:1:4:1(lacquer25%:water12.5%:soil powder50%:wood powder12.5%) was deduced by experimental analysis, focusing on efficiency of work, curing rate, surface crack level and durability. Besides, the material of nabal attached to the statue was presumed to be wood by an analysis of characteristics of material, which were shown in the present condition and X-ray scan data. In the results of comparison after testing the materials with which the nabal was bonded on the surface of upper garment on the basis of adhesives’ volume, curing rate and persistence of adhesive strength, there was the strongest possibility of applying glue. Besides, with regard to the time when a finishing coat was applied inside the statue of the Buddha in Seonguksa, it was possible to infer that the finishing coat was applied inside before bonding the head part when the statue was made in consideration of production traces.
This study tried to analyze the production technology of statue of the Buddha in Seonguksa from the viewpoint of material properties and production technology characteristics. A study on production technique for cultural heritage becomes a basis of working for handing down traditional technology, and has academic value making it possible to newly understand traditional production technique. It is thought possible to more clearly identify the production technology of dry-lacquered statue of Buddha if various kinds of data are accumulated as an investigation of Korean dry-lacquered statue of Buddha is carried out from the optical and humanities perspective in the future.
목차
Ⅰ. 머리말
Ⅱ. 선국사 건칠아미타여래좌상의 특징
Ⅲ. 선국사 건칠아미타여래좌상의 제작기술 실험 분석
Ⅳ. 맺음말
참고문헌
Abstract
참고문헌 (31)
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