불상 도금법의 전통 계승과 근대적 변화

Abstract

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.BR 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.BR 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.