Bronze Buddha Research Articles

Research on the Composition and Casting Process of Ming Dynasty's Bronze Buddha in Pingliang Museum

Research on the Composition and Casting Process of Ming Dynasty's Bronze Buddha in Pingliang Museum

A study on ancient casting method via microstructures of impurities and copper found in bronze excavated from the Unified Silla Period (7th to 10th centuries)

At the Hwangnyongsa temple site, which was founded in 633, at Dongdaebong Mountain in Korea, a large number of gilt-bronze artefacts have been excavated. Optical microscopy, X-ray fluorescence, scanning electron microscopy, energy dispersive X-ray spectroscopy, focused ion beam and transmission electron microscopy were used to identify the structure of specimen and impurities. This article investigated the impurities and copper grains in bronze Buddha robes from the Hwangnyongsa temple site to determine the ancient bronze craft technology in the Unified Silla period (seventh–tenth). The XRF results of the specimens indicated that they were made using an alloy of copper and tin, and gold plating was only added on the front side. The microstructure of the specimen was confirmed to be a recrystallized equiaxed hexagonal structure with twins and impurities. The EDS results of the impurities indicated the molar ratio of Cu:S was 2:1, and the electron diffraction pattern substantiated this result by indicating Cu2S (JCPDF 33-0490). The surface of the specimen consisted of a highlead layer and copper grains. It was hypothesized that the copper grains were formed by the reaction of Pb with the matte (Cu2S) during casting. Lead with black gas would aid in the production of high-quality bronze. The copper grains used were found in Silla, as they have been detected in Koryo bronze artefacts. Hence, it is plausible that the ancient artisans knew that lead provided good bronze quality during the casting process.

Religion and the imperial body politic of Japan

This article offers a religious history of the Japanese emperor’s body as it was discursively constructed, visually imagined, and ritually reinforced as the larger body politic. It demonstrates that the Shinto-inflected notion of the imperial body politic (J. kokutai) technically only emerged during the early modern period in Japan. It therefore draws attention instead to the important premodern Buddhist precursors that first equated the emperor’s own body with the greater state polity of Japan. Buddhist teachings about the world-body of Buddhahood (dharmakaya), the monumental bronze Buddha body of Birushana in Nara, and Buddhist ritual activity throughout Japan’s provincial temple system all helped to construct Emperor Shomu (r. 710–56) as the all-protecting head of the family-state (kokka). Later esoteric Buddhist teachings about ‘becoming a Buddha in this very body’ (sokushin jobutsu) and elaborate state-protecting rites performed before Kukai’s (744–835) multi-headed and multi-armed figures all helped to protect the body of the emperor (or his clothes), and by extension, the health and wellbeing of the country at large. Finally, modern reformulations such as Kiyozawa Manshi’s (1863–1903) ‘hand metaphor’ and Minobe Tatsukichi’s (1873–1948) ‘organ theory of government’ continued to resonate with these pre-existing Buddhist corporeal tropes, as well as with newly imported Western philosophical constructs. As a result, this premodern Buddhist analysis of the emperor’s rhetorical, artistic, and ceremonial body-state demonstrates the centrality of the human body in imagining religious authority and political power in Japan.

Exotic ceramics in Óc Eo culture through archaeological documents of Go Thap Relic Site (Dong Thap province, Vietnam)

Oc Eo culture is the material civilization of Funan – an ancient state in Southeast Asian history, lasting from the 1st century to the 7th century A.D. and was centered on the lower Mekong Delta. The results of research on currencies, commodities, bronze statues, and seals, etc. of the kingdom such as gold coins in the time of Antonius Pius (138-161) and Marcus Aurelius (161-180) from Roma, bronze mirror dated from the later Han dynasty, bronze Buddha statue from the Northern Wei period, seals influenced by the culture of India, etc. show that Oc Eo is a culture with wide relations and exchanges with East Asia, South Asia to Western Asia and Rome in ancient times. However, there have not been many studies on exotic ceramics. Based on the new findings from the excavations at the Go Thap relic site (in Dong Thap, Vietnam) carried out by the University of Social Sciences and Humanities, Vietnam National University Ho Chi Minh City from 2010 to present, and based on the results of comparative research, this article presents some relics including Chinese pottery from the Eastern Han dynasty to the Southern Song dynasty, Indian pottery and pottery influenced by the culture of India found in Go Thap relic site; thereby, contributing to the demonstration that the international exchange development of Phu Nam not only took place in the western region of Hau river having the seaport but also developed in Oc Eo culture inland – the central region of Dong Thap Muoi. Go Thap relic site is an urban area, a cultural religious political economic and foreign trade center which plays an important role in the development of Oc Eo culture – Funan kingdom

Buddhist Ritual and the Bronze Buddha Mold Excavated from the Western Five-Story Stone Pagoda of Hwaŏm Temple, Korea

This paper examines the bronze Buddha mold that was excavated from the western pagoda of Hwaŏm temple 華嚴寺. The research centers on the mold’s date of production, its function, and the reason it was enshrined in the Hwaŏmsa pagoda. The pagoda itself was constructed in the ninth century and is considered to be a Dharani pagoda because Wugoujingguang datuoluonijing (無垢淨光大陀羅尼經, The Great Dharani Sūtra) is enshrined within the structure. The act of placing the Buddhist scriptures in the pagoda was to benefit the structure’s benefactors by absolving them of their sins and granting blessings in their afterlives for their meritorious deeds. Of all the dhāraṇī, Wugoujingguang datuoluonijing is the most detailed and particularly emphasizes the act of repetition. The clarity and simplicity of its instructions made it especially popular in eighth-to-ninth-century Korea. The Hwaŏmsa Buddha mold was one of the tools used in the ritual described by Wugoujingguang datuoluonijing. Considering the sūtra’s insistence on repetition and replication, the mold was a very suitable implement. The use of inexpensive clay also allowed for the mass production of Buddha images that any individual could commission at little cost. Furthermore, this method of producing Buddha images made it easy for the temple to attract followers and thus raise funding for the construction of the pagoda. The clay Buddhas themselves were small, making it possible for one to keep the image on his person and carry it wherever he went. Ultimately, these actions were meant to bring the individuals closer to Buddha and his world.

Manufacturing Techniques of Ancient Metal Buddha Statues from Archaeological Sites in Bagan, Myanmar

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(2nd to 9th century) contain Cu-Sn alloy(including 1% Cu besides silver with no additional metallic components identified. The bronze Buddha statue manufactured in the Konbaung dynasty(18th 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.

북한지역 고려 후기 금동불 연구 - 중대형 금동불을 중심으로

북한지역 고려 후기 금동불 연구 - 중대형 금동불을 중심으로

Gyōki as a Religious Entrepreneur: An Activist Who Linked Development and Buddhism, the Public and Private Sectors

This paper aims to clarify managerial aspects of a Buddhist monk who was successful in recruiting commoners for the construction works in Nara Period (712–784). He is well known for his contribution to the construction of Great Bronze Buddha at Toudaizi Temple in Nara. Gyouki/Gyougi (668–749) was a Buddhist priest, born in Kawati Province, as a descendant of Wang In who came from Paekche. Gyouki’s religious enterprise is characterised by Buddhist activity of merit making with definite purpose, plan, and management for the common people. It was based on altruism of deeds, such as donation of field, money and labour by the community of believers who were willing to offer. His community was engaged in the construction works of roads and bridges, nourishment to the patients, and benevolence to the poor and the suffered. From the management perspectives, Gyouki carried the ball by himself, but organised his projects which were supported by voluntary associations. It was a project based enterprise of men and women, but also assisted by the craftsmen’s groups of Korean descent.

The “Three National Treasures of Silla (新羅三寶)” and Their Transfer: The Symbol of the Unification of the Koryŏ Dynasty

This paper explores the significance of the three national treasures of Silla (Silla sambo) in the history of Koryŏ through analyzing the significance of the Three National Treasures of Silla. There are the three national in Silla—a sixteen-foot bronze Buddha statue and a nine-tiered pagoda at Hwangnyong Temple, and the jade belt bestowed by the heavens. These are made from the time of King Chinhŭng to the time of Queen Sŏndŏk. Moreover, these treasures came to occupy the status of treasures that protect the nation, as the mere existence of the treasures was able to persuade the “king of Koryŏ” to abandon his plan to attach Silla. As a result, the treasures were made by the kings of the “sacred bone” sŏng’gol with the Buddhist background, and again, the treasures added to power and authority to the “sacred bone” sŏng’gol family, so the treasure „Sambo’ became a symbol of the nation. The stories that demonstrate the miraculous powers of the three national treasures of Silla appear in the legends of the nine-tiered pagoda of Hwangnyong Temple and of the jade belt. And it is correct to understand that the “king of Koryŏ” mentioned in these stories is a “king of Koguryŏ” rather than Wang Kŏn, the founder of the Koryŏ dynasty. Above all, it is important to take into consideration the fact that the Memorabilia of the Three Kingdoms was compiled in the Koryŏ dynasty. Therefore in the Memorabilia of the Three Kingdoms, Koryŏ is consistently referred to as “this dynasty” and Wang Kŏn as “T’aejo.” Such circumstances eliminate the possibility that T’aejo would have been referred to as simply the “king of Koryŏ.” T’aejo Wang Kŏn, who was aware of the need for and had the will to unify the then-divided three kingdoms, or Samhan, showed interest in the three treasures of Silla. Then in 935 and 937, the three treasures were handed over to Wang Kŏn after Silla’s surrender and through Kim Pu’s presentation of the jade belt to T’aejo. And in 936, T’aejo achieved the “unification of Samhan.” In the end, the transfer of ‘the treasures’ is the ‘gift’ of Silla, which means that Koryŏ inherited the legitimacy of Silla through the achievement of the unification of the Three Kingdoms.

常時微動を用いた鎌倉大仏の地震応答特性の調査

常時微動を用いた鎌倉大仏の地震応答特性の調査

The Quest for the ‘Third Buddha’: A Sequel

New information is presented to strengthen a suggestion made originally in this journal in 2002 that a bronze Buddha statuette in the Bangkok Museum was one of three important early Gupta bronze Buddhas acquired by Dr William Hoey in Dhanesar Khera, India, at the end of the nineteenth century. Unlike its two well-known companions, the ‘Third Buddha’ had ‘disappeared’. This paper briefly summarises the 2002 article and then describes a plausible route by which the ‘missing’ statuette may have reached Bangkok.

The Buddha Images and Conservation and Adherence to Cultural Values in Northeast

Problem statement: This study is caused by the problem of conservation of the Buddha images to exist in the original condition and by the problem of transference and adherence to indigenous knowledge of local craftsmen. At present there have not yet been systematic and wide conservation and adherence to the Buddha images. Other causes are such as incorrect techniques of conserving the Buddha images, lack of encouraging people and the community to appreciate the Buddha images, incorrect techniques of restoring the Buddha images, lack of increment of economic and cultural values in terms of tourism, lack of correct techniques of studying styles of the Buddha images to rebuild the styles for the community to appreciate local art, lack of clear examination of the background and there have not been comparative studies to find out relationships with other localities. Purposes were to examine backgrounds of Isan Buddha images and iconology, to examine current conditions and problems of the Buddha images and to investigate models of conservation and adherence to cultural values in Iran. Study area covered Changwat Maha Sarakham, Changwat Kalasin and Changwat Roi Et where there have been long backgrounds and continuous developments of the Buddha image in all Ages. Approach: This study used qualitative methodology by collecting data from related literature and from field studies by interviews and focused group discussion from totally 66 informants. Findings were presented by means of a descriptive analysis. Results: The result of this research revealed that there were 5 models of the Buddha image art found in Isan: Sandstone Buddha images, baked-clay votive tablets, cast motar Buddha images, bronze Buddha images and wooden Buddha images. They were in the Periods of Dvaravati, Lop Buri and Lan Chang. The Buddha images were popularly built in many different styles such as concentration style, double-miracle style, nag-over-his-head style, blessing style, world-opening style, relatives-stop style, dharma consideration style and others. In addition, they popularly made 4,9,12 or 168 votive tablets on each of a large number of baked-clay plates. Significant characteristics of the Buddha images were different based on the outside influences they received. Conclusion: The Buddha images of the Dvaravati Period were influenced from India in the art styles of Kupta, Pala, Sena and Pallava to central of Thailand. Those of the Lop Buri Period were influenced by Khmer art. Those of the Lan Chang Period were influenced by Lan Chang art which had been influenced by Lan Na Savana. The bronze Buddha images were popularly made in the concentration style and the maravijaya style. The wooden Buddha images were popularly made in the styles of maravijaya, concentration, dharma consideration and others.

THE SAVAGE MAGNET: RACIALIZATION OF THE OCCULT BODY IN LATE VICTORIAN FICTION

“The Savage Magnet: Racialization of the Occult Body in Late Victorian Fiction” considers how late Victorian occult fiction written by women employs the racial identities of its characters. The essay analyses Florence Marryat's The Blood of the Vampire (1897), Cora Linn Daniels’ The Bronze Buddha (1899) and Marie Corelli's Romance of Two Worlds (1886), which all feature non-white characters with occult powers. Aligning dark bodies with dangerous, mysterious, magnetic abilities, this fiction often embodies imperialist and nationalistic assumptions about British subjects in non-English bodies. These dark bodies, in turn, provide allegories about the British Empire and its internal race-based conflicts and power structures. In these novels a quadroon Jamaican heiress, a half-Indian, half-American Brahmin and a Chaldean beauty provide examples of how mixed-race or non-English characters vacillate between heroic and villainous roles, reinforcing Victorian concepts of white racial and cultural ascendancy.

United Shilla period large gilt bronze Budda statue, producing techique seen through Baekrulsa temple gilt bronze buddha statue

United Shilla period large gilt bronze Budda statue, producing techique seen through Baekrulsa temple gilt bronze buddha statue

A Bronze Buddha Image from Ceylon

A Bronze Buddha Image from Ceylon

Radiography of the Great Buddha at Kamakura

In carrying out radiography on a bronze Buddha statue kept in a country temple, Co/sup 60/ should be used as the irradiation source. However, the circumstances make the convenient irradiation apparatus unavailable in general, and the simple source had to be hung with a long string by remote operation. Preceding the recently performed repairing of the Great Buddha at Kamakura, a gamma radiographical study was carried out on the bronze wall of this Buddha. As the results of this study, mention is made on blow holes, thickness, cracks, and so on. Cracks seen in this statue can be said to be not very fatal, because they can be classified as those which have been invoked by the thermal stress in the original state when the statue was made. The study revealed the imperfectness of fusion between two consecutive parts of the statue cast by parts. On the inside surface of this statue, at junctions of consecutive parts, three kinds of reinforcing devices made in the course of casting can be seen. It is clear that the people in the Kamakura period were aware of the imperfect fusion of the junction of parts of the bronze statue cast part by part.more » (auth)« less

RELATIVE HUMIDITY IN A CLOSED PACKAGE

RELATIVE HUMIDITY IN A CLOSED PACKAGE

An Early Chinese Gilt Bronze Buddha from Seoul

An Early Chinese Gilt Bronze Buddha from Seoul