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In recent years, the newest digital devices such as a laser scanner and high precision digital cameras have been utilized for the preservation of the conditions of historical remains and art objects as they are, But today, the inclusion in databases of the digital archives is beginning to shift its focus to the practical fields of preservation and restoration of the cultural properties. For example, the use of the pulse laser which can measure a maximum of 100m in the project of the Sato Supra N1 Towel In the large open giound of the King's Palace at Angkor Thom in Cambodia, the CAD Center which armed at 3-dimensional digitization of the Bronze Seated Buddha Statue known as the Kamakura Daibutsu in Japan, the investigation of the Waseda University which adopted the optical cutting system by the laser beam and the digitized carved Buddha image on rock cliff in Pujiang Prefecture, Sichuan Province are known However, all of these examples have been used for the purpose of the conversion to digital contents. This differs from our restoration project of the Japan-Korea ancient sculpture which aims at a creation of new values from the standpoint of academic researches.
This project started from 2002 in order to investigate damaged Buddhist images of important cultural heritage, to preserve records of digitized data for preservation of images and to utilize the obtained basic data to be used for the positive restoration of Buddhist Images. Two examples, the Kurose Bronze Seated Buddha statue in Tsushima, Nagasaki Prefecture in Japan and the carved Buddha image on rock cliff at Pukchiri, Ponghwagun, North Kyongsang Province in Korea, are introduced in this paper to give an outline and procedures of the concrete research technique and its result
The Kurose seated bronze Buddha statue is thought to be made during the Unified Silla dynasty and was designated as the Japanese important cultural property in 1981 The Buddha statue shows a separate casting technique for the upper and lower half of the body It is not known when and how the Image was brought to Tsushima. Reviewing the damaged parts of the Buddha statue as well as a bronze seated boddhisattva image thought to have been brought together from Korea, it appears to have had a beautiful octagonal pedestal composed of a lotus seat and a lower lotus base with an octagonal pillar in between them, when it originally came to Tsushima. The image was partly damaged by a rue and lost its octagonal pillar of the pedestal. A big crack is seen on the right side of the hip of the image, and because of the distortion in the Junction area from the left shoulder to the right side of the body below the right arm, it doesn't provide the efficient condition for the restoration process
The Buddha image m relief on the rock cliff at Pukchiri, Ponghwa, is a designated national treasure No. 201 in Korea It is carved on a weak rock surface and there are countless cracks along the border areas of the upper right and lower left sides of the back wall Also many parts of the Buddha's head, body, hands and the lotus base are heavily damaged and some parts of the rocks have been fallen off. Such damages have already started since the 1970s and a proper processing for preservation is urgently needed. In addition, because of an unapt design of the recently constructed wooden structure with tiled-roof for protection of the Buddha Image, and of the unsuitable drainage system applied in the upper part of the background rock surface, much of the ram water penetrates into the relief Buddha image and causes black mould to grow on the rock surface.
This research is carried out to record the present condition of such damaged statues in order to find out the original state or appearance of the images when they were made at first, by acquiring the digitized data using a non-contact laser device. It also introduces the entire process of the digital technique from making CG images to creating restoration models by the laminating method The intoduction the digital technology for the investigation of this restoration project of Japan-Korea ancient sculptures is quite significant as the digitized pictures of an image comes from the actual form of the image itself. It differs greatly from a photograph which changes the outlook of the image according to the lighting system, thus often giving an unreliable information for a better scientific research Moreover, this new restoration process would make various contributions to the society by giving information of the actual condition of the original image, by conducting proper restoration of the image, and by utilizing the digital archive with a Hi-Vision Image(HDTV) for future references.
破損仰の復原を介した日韓古代彫刻史硏究の新手法について
近年 , レザスキャナや高精度デジタルカメラなど最新のデジタ J レ機器を用いて , 遺跡や美術品の現狀を保存し , デ一タベス化するいわゆる文化財のデジタルアカ イウ、が ' 文化財の保存や再現の分野で賓施に移されつつある。しかし , その多くはデ ジタルコンテンツ化を目的としたもので , 學術硏究の側面から新たな 價値の創出を目 指した嘗復原プロジェクトとは異なる。
2002 年から着手 L た當プロジェクトは , 文化遺産と L ての例像を調査してデジタ J レ デ一タとして記錄保存を行うのはもちろん , 得られた基礎デ一タを活用 L て彿像の修 復や復原に積極的に役立てようとするものである。本硏究では , 長崎勝針馬市黑銅瀨造如來坐像あるいは慶尙北道奉化北枝里磨崖如來坐像を事例に , その具僅的な硏究手 法と成果の槪要について紹介する。
黑瀨銅造如來坐像は統一新羅時代に造られた 佛像で , 佛像本韓を上宇身と下半身に 分離し て鑄造する技法を採用しているのが特徵で ,1981 年に日本の重要文化財に指定 されている。對馬への傳來經緯は不明であるが , 一緖に侍世する銅造菩薩坐像の損傷 狀況からみて , 請來當初は仰蓮華座·八角中台·八角複蓮弁下台からなる豪華な台座 上に安置されていたとみられるが , 火災に遭い破損したもので八角中台はすでに失わ れてしまっている。佛像本鵠も右管部を中心に大きな龜裂が生じているほか , 歪みの ため上半身と下竿身の接合が困難な欣況にある。
奉化北枝里磨崖如來坐像は , 韓園の園賓 201 競に指定されながらも岩盤がもろし右 上から左下がりに生じた無數の龜裂に沿って , 右側頭部と胸部が剝落 し て失われてい るほか , 右手·右膝·蓮座等も剝落し斷片がそのまま現場に殘されている。こうした 狀況はすでに 1970 年代から績いており , 保存に向けた遁切な慮理が急務となってい る。近年 , 保存のために設けられた木造瓦葺の賓閣も , 屋根の向きが不通切で排水施 設を岩盤の上部に設けるという設計ミスのために多量の雨水が磨崖佛に參み入み , 黑かびを生じる原因となっている。
本硏究ではこう L た破損仰の現狀を記錄保存することはもちろん , 制作嘗初の姿を 明らかにするべく , 非接觸型のレ一ザ機器を用いてデジタルデタを取得 し, CG 映像の作成から積層法による復元模型の制作まで , 一連の復原ブ。ロセスを紹介する。その結果, 黑瀨像の台座と光背の復元については , 仰蓮華座に結跡政坐する如來の背後 に基部が比較的小さく , 本館部分で大きく膨らんだ二重円相の光背が想定されるこ と。また , 奉化北枝里磨崖如來坐像では拳身光部に左右 4軀 の化倒 , 頭光部に 5 軀の 化仰が配置されていたものと推測され , 如來の相貌は目を薄く見開き , 口元にわずか に笑みをたたえた童顔と L て復元されることが判明した。このように , デジタ J レ技術 を謄用して破損仰の復元を試みるという調査硏究手法は未だ緖についたばかりでわり, 今回の調査硏究で明らかになった問題点を敎訓に, 將來の日韓古代彫刻史硏究の 進展に少 L でも貢獻できれば幸いである。
This project started from 2002 in order to investigate damaged Buddhist images of important cultural heritage, to preserve records of digitized data for preservation of images and to utilize the obtained basic data to be used for the positive restoration of Buddhist Images. Two examples, the Kurose Bronze Seated Buddha statue in Tsushima, Nagasaki Prefecture in Japan and the carved Buddha image on rock cliff at Pukchiri, Ponghwagun, North Kyongsang Province in Korea, are introduced in this paper to give an outline and procedures of the concrete research technique and its result
The Kurose seated bronze Buddha statue is thought to be made during the Unified Silla dynasty and was designated as the Japanese important cultural property in 1981 The Buddha statue shows a separate casting technique for the upper and lower half of the body It is not known when and how the Image was brought to Tsushima. Reviewing the damaged parts of the Buddha statue as well as a bronze seated boddhisattva image thought to have been brought together from Korea, it appears to have had a beautiful octagonal pedestal composed of a lotus seat and a lower lotus base with an octagonal pillar in between them, when it originally came to Tsushima. The image was partly damaged by a rue and lost its octagonal pillar of the pedestal. A big crack is seen on the right side of the hip of the image, and because of the distortion in the Junction area from the left shoulder to the right side of the body below the right arm, it doesn't provide the efficient condition for the restoration process
The Buddha image m relief on the rock cliff at Pukchiri, Ponghwa, is a designated national treasure No. 201 in Korea It is carved on a weak rock surface and there are countless cracks along the border areas of the upper right and lower left sides of the back wall Also many parts of the Buddha's head, body, hands and the lotus base are heavily damaged and some parts of the rocks have been fallen off. Such damages have already started since the 1970s and a proper processing for preservation is urgently needed. In addition, because of an unapt design of the recently constructed wooden structure with tiled-roof for protection of the Buddha Image, and of the unsuitable drainage system applied in the upper part of the background rock surface, much of the ram water penetrates into the relief Buddha image and causes black mould to grow on the rock surface.
This research is carried out to record the present condition of such damaged statues in order to find out the original state or appearance of the images when they were made at first, by acquiring the digitized data using a non-contact laser device. It also introduces the entire process of the digital technique from making CG images to creating restoration models by the laminating method The intoduction the digital technology for the investigation of this restoration project of Japan-Korea ancient sculptures is quite significant as the digitized pictures of an image comes from the actual form of the image itself. It differs greatly from a photograph which changes the outlook of the image according to the lighting system, thus often giving an unreliable information for a better scientific research Moreover, this new restoration process would make various contributions to the society by giving information of the actual condition of the original image, by conducting proper restoration of the image, and by utilizing the digital archive with a Hi-Vision Image(HDTV) for future references.
破損仰の復原を介した日韓古代彫刻史硏究の新手法について
近年 , レザスキャナや高精度デジタルカメラなど最新のデジタ J レ機器を用いて , 遺跡や美術品の現狀を保存し , デ一タベス化するいわゆる文化財のデジタルアカ イウ、が ' 文化財の保存や再現の分野で賓施に移されつつある。しかし , その多くはデ ジタルコンテンツ化を目的としたもので , 學術硏究の側面から新たな 價値の創出を目 指した嘗復原プロジェクトとは異なる。
2002 年から着手 L た當プロジェクトは , 文化遺産と L ての例像を調査してデジタ J レ デ一タとして記錄保存を行うのはもちろん , 得られた基礎デ一タを活用 L て彿像の修 復や復原に積極的に役立てようとするものである。本硏究では , 長崎勝針馬市黑銅瀨造如來坐像あるいは慶尙北道奉化北枝里磨崖如來坐像を事例に , その具僅的な硏究手 法と成果の槪要について紹介する。
黑瀨銅造如來坐像は統一新羅時代に造られた 佛像で , 佛像本韓を上宇身と下半身に 分離し て鑄造する技法を採用しているのが特徵で ,1981 年に日本の重要文化財に指定 されている。對馬への傳來經緯は不明であるが , 一緖に侍世する銅造菩薩坐像の損傷 狀況からみて , 請來當初は仰蓮華座·八角中台·八角複蓮弁下台からなる豪華な台座 上に安置されていたとみられるが , 火災に遭い破損したもので八角中台はすでに失わ れてしまっている。佛像本鵠も右管部を中心に大きな龜裂が生じているほか , 歪みの ため上半身と下竿身の接合が困難な欣況にある。
奉化北枝里磨崖如來坐像は , 韓園の園賓 201 競に指定されながらも岩盤がもろし右 上から左下がりに生じた無數の龜裂に沿って , 右側頭部と胸部が剝落 し て失われてい るほか , 右手·右膝·蓮座等も剝落し斷片がそのまま現場に殘されている。こうした 狀況はすでに 1970 年代から績いており , 保存に向けた遁切な慮理が急務となってい る。近年 , 保存のために設けられた木造瓦葺の賓閣も , 屋根の向きが不通切で排水施 設を岩盤の上部に設けるという設計ミスのために多量の雨水が磨崖佛に參み入み , 黑かびを生じる原因となっている。
本硏究ではこう L た破損仰の現狀を記錄保存することはもちろん , 制作嘗初の姿を 明らかにするべく , 非接觸型のレ一ザ機器を用いてデジタルデタを取得 し, CG 映像の作成から積層法による復元模型の制作まで , 一連の復原ブ。ロセスを紹介する。その結果, 黑瀨像の台座と光背の復元については , 仰蓮華座に結跡政坐する如來の背後 に基部が比較的小さく , 本館部分で大きく膨らんだ二重円相の光背が想定されるこ と。また , 奉化北枝里磨崖如來坐像では拳身光部に左右 4軀 の化倒 , 頭光部に 5 軀の 化仰が配置されていたものと推測され , 如來の相貌は目を薄く見開き , 口元にわずか に笑みをたたえた童顔と L て復元されることが判明した。このように , デジタ J レ技術 を謄用して破損仰の復元を試みるという調査硏究手法は未だ緖についたばかりでわり, 今回の調査硏究で明らかになった問題点を敎訓に, 將來の日韓古代彫刻史硏究の 進展に少 L でも貢獻できれば幸いである。
목차
Ⅰ. 머리말
Ⅱ. 黑瀨鋼造如來坐像과 奉化北枝里磨崖如來坐像의 現狀
Ⅲ. 불상의 디지털化
Ⅳ. 불상의 復元 과정
Ⅴ. 맺음말
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