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.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 저널정보
- 미술사연구회 미술사연구 미술사연구 제36호
- 발행연도
- 2019.6
- 수록면
- 75 - 96 (22page)
- DOI
- 10.52799/JAH.2019.06.36.75
이용수
초록· 키워드
오류제보하기
Gilding is the last and most magnificent stage in the process of producing Buddha statues. Gilding refers to the application of gold powder or leaf to Buddha statues made of various base materials, such as bronze, stone, iron, wood, clay or fabric, using an inorganic or organic medium. Gilding of the Lacquer, in which lacquer is used as an adhesive with gold leaf, is the best and most traditional method used, thanks to lacquer’s preservative and water-resistant properties and the way it allows an even gilt layer to form. The Gilding of the Lacquer process can be inferred from the many extant documents about traditional lacquerware inlaid with mother-of-pearl. Such records indicate that materials used in the production process changed from era to era, according to availability.
Most Buddha statues investigated so far in the course of conservation and repair projects have been regilded several times since their initial production. They therefore show traces of the various other materials and techniques used up to the modern era, in addition to traditional gilding techniques. This tells us both about modern gilding techniques and the changes that led to them. Cashew lacquer began replacing natural lacquer, donkey hide glue and fish flue as an adhesive for Gilding of the Lacquer after 1962, when it was first produced in Korea. Spray painting techniques used in woodwork and car painting were also applied for gilding Buddha statues. This began with the application of lacquer to body parts of statues to protect gold powder gilt, later moving on to the application of a mixture of polyurethane resin and fake gold powder. On some Buddha statues, fake gold powder was applied to both the Buddha’s body and robes. Such appropriation of new materials and changes in production techniques brought reduced costs and raised productivity, creating entirely new Gilding of the Lacquer techniques. Gilding of the Lacquer was transformed and simplified, resulting in a process that omitted the wood-filling and lacquer layering stages. This transformation also led to a diversification of artisans. These changes can be seen as aligned with the spirit of the modern age and its pursuit of diversity and rationality.
Fortunately, some gilders continue to use traditional Gilding of the Lacquer materials and techniques close to their original forms. This is because the study of continuance and change in traditional Gilding of the Lacquer confirms the historicity, superiority, necessity and value of Gilding of the Lacquer.
Most Buddha statues investigated so far in the course of conservation and repair projects have been regilded several times since their initial production. They therefore show traces of the various other materials and techniques used up to the modern era, in addition to traditional gilding techniques. This tells us both about modern gilding techniques and the changes that led to them. Cashew lacquer began replacing natural lacquer, donkey hide glue and fish flue as an adhesive for Gilding of the Lacquer after 1962, when it was first produced in Korea. Spray painting techniques used in woodwork and car painting were also applied for gilding Buddha statues. This began with the application of lacquer to body parts of statues to protect gold powder gilt, later moving on to the application of a mixture of polyurethane resin and fake gold powder. On some Buddha statues, fake gold powder was applied to both the Buddha’s body and robes. Such appropriation of new materials and changes in production techniques brought reduced costs and raised productivity, creating entirely new Gilding of the Lacquer techniques. Gilding of the Lacquer was transformed and simplified, resulting in a process that omitted the wood-filling and lacquer layering stages. This transformation also led to a diversification of artisans. These changes can be seen as aligned with the spirit of the modern age and its pursuit of diversity and rationality.
Fortunately, some gilders continue to use traditional Gilding of the Lacquer materials and techniques close to their original forms. This is because the study of continuance and change in traditional Gilding of the Lacquer confirms the historicity, superiority, necessity and value of Gilding of the Lacquer.
목차
I. 머리말
II. 불상 도금법의 종류와 변화
III. 옻칠도금의 전통적 계승
IV. 옻칠도금의 근대적 변화와 카슈의 등장
V. 맺음말
참고문헌
Abstract
참고문헌 (42)
참고문헌 신청
함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
Analysis of Gilding Methods of Gilt-bronze Cap and Shoes in Three Kingdoms, Korea
문화유산보존연구소 학술심포지움
2018 .01
-
寶林寺 철조비로자나불상의 後援과 制作工程 연구
동악미술사학
2022 .12
-
호류지(法隆寺) 헌납보물 아스카시대(飛鳥時代) 금동불상 재고 - 조형과 제작기법 측면에서의 상호관련성을 중심으로
불교미술사학
2023 .03
-
조선전기 석조불상 연구 - 편년과 양식적 특징을 중심으로
불교미술사학
2017 .01
-
불상의 귀 표현으로 본 조선 후기 조각승의 계보별 특징
미술사연구
2020 .06
-
북한지역 고려 후기 금동불 연구 : 중대형 금동불을 중심으로
미술사연구
2018 .12
-
석남사 비로자나불상을 통해 본 통일신라시대 여래형 지권인 비로자나불상의 도상과 신앙
불교미술사학
2020 .01
-
불상도금 바탕층위의 전통과 근대적 변화 - 눈메움층을 중심으로 -
미술사학연구(구 고고미술)
2019 .09
-
중국 남북조시대 초기 道敎像의 전개와 특징 - 陝西지역을 중심으로
동악미술사학
2023 .06
-
石窟庵 造營 배경과 본존불상 도상의 화엄교의적 해석
불교미술사학
2019 .01
-
곡성 堂洞里寺址의 고려시대 석조여래좌상 고찰
불교미술사학
2015 .01
-
20세기 전반 불교조각의 흐름
동악미술사학
2018 .12
-
마곡사 영산전 목조칠불좌상과 천불의 조영과 가치
미술사연구
2021 .12
-
고려중기 봉화 청량사 건칠보살좌상 연구
불교미술사학
2021 .10
-
신라 하대 철불의 연원과 의미
미술사학연구(구 고고미술)
2023 .06
-
송광사 영산전 석가모니불 복장직물에 관한 연구
한복문화
2016 .12
-
儀禮로 보는 藥師信仰의 내용과 성격
불교미술사학
2021 .10
-
고려후기 마애불에 대한 고찰 : 조성시기와 특징을 중심으로
미술사학연구(구 고고미술)
2019 .03
-
동상, 불멸의 신체는 영원한가? : 조은정, 『동상 한국 근현대 인체조각의 존재방식』(다할미디어, 2016)
한국근현대미술사학
2017 .07
-
국립중앙박물관 소장 포천 출토 철조여래좌상에 대한 소고
미술자료
2019 .12
이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2019-609-000666562