금동반가사유상의 제작 방법 연구 : 국보 78, 국보 83호 반가사유상을 중심으로

민병찬 국립중앙박물관 2016 미술자료 Vol.- No.89

Gilt-bronze Buddhist sculptures are first cast in bronze and then coated with a thin film of gold. They have been produced since the first century A.D. across all areas of Asia, including the countries of Central Asia and Southeast Asia, India, China, Korea, and Japan, where Buddhism flourished. One can, therefore, better understand the spatial and temporal characteristics of these Buddhist sculptures when their materials and production methods are carefully analyzed through employing scientific methods and identifying the stylistic conventions with the naked eye. The gilt-bronze pensive bodhisattva, also an example of a gilt-bronze Buddhist sculpture, was also produced by means of the conventional method, yet it required a more complex and elaborate method due to its unique posture. Two pensive bodhisattva images, respectively designated as National Treasures no. 78 and 83, are the finest examples of gilt-bronze Buddhist sculptures in Korea. They have been examined with nondestructive XRF, γ-ray imaging, and 3-D scanning, and revealed the specific production method, identifying their primary features. Two primary methods of bronze casting were used in ancient times: “piece-mold casting,” which originated in China and was used mainly in East Asia; and the “lost-wax casting,” which was developed in the Anatolian Plateau, Turkey, or in the Middle East, and spread across regions in North Africa, Europe, and Asia. National Treasures no. 78 and no. 83 were cast with the lost-wax casting method using core pins. However, the two demonstrate distinction in terms of the method of making the core, covering wax, and carving the surface. For National Treasure no. 78, a separate clay core was made for the head and body, and each was covered with a layer of wax, roughly carved to give the statue its basic form. The head and body were then joined into a single assemblage. Wax was additionally applied where necessary and details were carved to complete the wax mold. Two metal cores that have been hammered through the shell of the head and body indicate that they were separately made, and molten bronze permeated into the crevice of the neck created a rough protrusion on the inner neck. The use of a thin wax reduced the volume of the body of the drapery folds and ornamentation, thereby yielding an overall flat impression. For National Treasure no. 83, a clay core was formed in a single assemblage for the head and body. The core was covered with a thick wax layer, which was carved away little by little to complete the wax mold. A single metal core extends from the head to the body. The bronze shell of the statue is fairly thick and the drapery and ornamentation are voluminous. Extremely fine clay was used to construct the core for National Treasure no. 78, and thus the air trapped inside the wax was not effectively released when the molten bronze was poured in. This consequently resulted in a thin bronze shell, low liquidity of the molten bronze, and ultimately a number of cast defects. These flaws were remedied through an advanced technique that involved re-casting the flawed parts and attaching them to the body, or by pouring additional molten bronze to the defected area. Accordingly, National Treasure no. 78 appears to be impeccable on the surface. On the other hand, National Treasure no. 83 eliminated, from the beginning, the factors that could have led to cast defects, including securing a consistent thickness in its wax model so that the molten bronze could be poured in easily and using coarse clay for the core that allows for the efficient release of air. Although bronze alloy with less than five percent tin content was used for both statues, National Treasure no. 83 may thus be considered superior in terms of casting technique, given the efficient elimination of trapped air, the enhanced flow of molten metal, and the judicious placement of the core pins to securely stabilize the clay core. 금동불이란 청동으로 만들고자하는 像을 주조한 다음, 겉 표면을 금으로 도금한 불상을 말한다. 인도, 중앙아시아, 중국, 한국, 일본, 동남아시아 등 불교가 성행하였던 아시아 전 지역에서, 기원후 1세기경부터 현재에 이르기까지 꾸준히 만들어졌다. 따라서 육안을 통한 양식분별과 더불어 과학적 조사 방법을 통해 재료를 분석하고, 제작 방법을 파악해내면, 불상 연구의 기본이 되는 시공간의 특징을 객관적으로 얻어낼 수 있다. 금동반가사유상도 금동불의 하나로 동일한 제작방법으로 만들어졌으나, 반가사유라는 독특한 자세로 인하여 좀 더 복잡하고 정교한 제작방법을 필요로 했다. 고대 금동불을 대표하는 국보 78호와 83호 반가사유상을 비파괴성분분석(XRF), 감마선촬영, 3D스캔 등 현대의 과학 장비를 동원한 분석 방법을 통하여 구체적인 제작방법을 알아보면 좀 더 근원적인 특징을 파악할 수 있다. 고대 청동을 주조하는 방법은 크게 두 가지로, 중국에서 기원하여 동아시아에서 주로 사용되었던 分割鑄造法(piece-mould casting)과 터키 아나톨리아고원 혹은 중동지역에서 기원하여 북아프리카, 유럽, 아시아 등지로 넓게 퍼져나간 蜜蠟鑄造法(lost-wax casting, 혹은 실납법失蠟法이라고도 함)이 있다. 국보 78호와 83호 두 상은 모두 쇠못(core pin)을 사용한 밀납주조법을 기본 제작방법으로 하고 있다. 그러나 내형토를 만드는 방법과 밀납을 입히고 조각하는 방법에서는 서로 차이를 보이고 있다. 국보78호 상은 머리와 몸체 부분의 내형토를 각각 따로 만들고 그 위에 얇은 밀납판을 입힌 후 대강의 형태를 조각하였다. 분리되어 있던 머리와 몸체 부분을 하나로 연결한 다음, 필요한 부분에 밀납 판을 덧붙이고 세부를 조각하여 밀납 조각상을 완성하였다. 이는 머리와 몸체 부분에 철심이 각각 들어가 있는 것으로 증명되며, 이로 인해 이어붙인 목 부위 안쪽으로 청동쇳물이 침투해 들어가 거스러미가 생겼다. 얇은 밀납 판의 사용은 옷주름이나 장신구의 입체감을 떨어뜨리고 전체적으로 평면적인 느낌을 띄게 하였다. 국보83호 상은 몸체와 머리 부분의 내형토를 하나로 만들고 그 위에 밀납을 두껍게 입힌 다음, 조금씩 깎아내면서 밀납 조각상을 완성하였다. 철심이 머리부터 몸통까지 하나로 이어져 있고, 불상의 두께가 비교적 두꺼우며 옷주름, 장신구 등에서 입체감이 잘 살아있다. 국보78호 상은 매우 고운 진흙만을 내형토로 사용하였기에 청동 쇳물을 부어 넣을 때 틀 안에 들어 있던 공기가 외부로 원활하게 배출되지 못했다. 이것은 얇은 상의 두께와 더불어 청동 쇳물의 유동성을 크게 떨어뜨렸고, 수많은 주조결함으로 이어졌다. 그러나 결함이 생긴 곳에 쇳물을 부어 재주조하거나 필요한 부분만을 별도로 주조하여 접합하는 등 고도의 수리기술을 이용하여 외관상으론 완벽한 조각상을 만들어냈다. 반면에 국보83호 상은 청동 쇳물이 잘 흘러들어갈 수 있도록 일정한 두께를 확보하고, 공기 배출이 쉬운 모래가 많이 섞인 내형토를 사용하는 등 처음부터 주조 실패 요인을 제거하였다. 주석 함량이 5%내외로 거의 비슷한 청동을 사용하였음에도 불구하고, 쇳물의 유동성 확보, 내형토를 고정시키는 철심의 사용 방법, 쇠못(코어 핀)의 적절한 배치 등에 의해서 주조의 완성도는 큰 차이를 보였다. 국보 83호상에 훨씬 발전된 주조 기술이 사용되었다.

Early Movable Metal Types Produced by Lost-Wax Casting

박학수,윤의박 대한금속·재료학회 2009 METALS AND MATERIALS International Vol.15 No.1

The oldest extant movable metal print book is Buljojikjisimcheyojeol (Jikji) [1-9], printed in Korea in 1377. The prevailing assertion has been that the movable metal type used in its printing was made through lostwax casting [3-6]. Unfortunately, however, there is no record of movable metal type being made from lostwax casting, and to this day no relics have been found supporting this claim. We report that the first known movable metal types having the features of lost-wax casting are found in the Wibuinja, the movable metal type of the Joseon Dynasty Period that is preserved by the National Museum of Korea. The tapered shape of the body of the movable type and the unevenness of the stripe before casting defects broke out both suggest use of the lost-wax casting method. Although our findings do not conclusively prove that the movable metal type used for Jikji was made through lost-wax casting, the possibility of its production from lostwax casting cannot be excluded because movable metal types made from lost-wax casting exist. The oldest extant movable metal print book is Buljojikjisimcheyojeol (Jikji) [1-9], printed in Korea in 1377. The prevailing assertion has been that the movable metal type used in its printing was made through lostwax casting [3-6]. Unfortunately, however, there is no record of movable metal type being made from lostwax casting, and to this day no relics have been found supporting this claim. We report that the first known movable metal types having the features of lost-wax casting are found in the Wibuinja, the movable metal type of the Joseon Dynasty Period that is preserved by the National Museum of Korea. The tapered shape of the body of the movable type and the unevenness of the stripe before casting defects broke out both suggest use of the lost-wax casting method. Although our findings do not conclusively prove that the movable metal type used for Jikji was made through lost-wax casting, the possibility of its production from lostwax casting cannot be excluded because movable metal types made from lost-wax casting exist.

금속활자 주조를 위한 蜜蠟鑄造法의 鑄物土 실험연구

이승철 한국서지학회 2006 서지학연구 Vol.34 No.-

Though the technology of casting movable metal types through lost-wax casting method has been theorized by previous researches, many tests and discussions have been continuously implemented for the purpose of identifying the soil of mold because of problems of its materials for experiments and mixture ratio.This study has an intention of identifying the kinds of proper natural materials, mixture ratio and physical characteristics for casting movable metal types through lost-wax casting method by experiment.To this end, the experiment was conducted with the following conditions and procedures, and the results of test were analyzed.1. Preparation for the Test1) Materials for making the mother letters : natural beeswax2) Casting materials : clay mixed with soft stones / mudstone, loess, sand3) Metal material : bronze, tin, lead2. Test procedure1) Carving the mother letters2) Casting the mold3) Melting the metal and making the types4) Trimming the types and Printing3. Analysis of the casting results1) Examination on casting materials2) Shape of movable metal types by materials3) Size variation of movable metal typesExperiments were conducted on casting the types with traditional casting materials to identify technology of casting movable metal types through the lost-wax casting. As a result, it was found that the problems of casting materials which have so far been much debated in the previous research were solved by using natural materials.Even though the test with natural materials was implemented successfully, lots of questions regarding the restoration process of casting metal types with the lost-wax casting method could be raised because how to cast metal types with the lost-wax casting method was not documented.For this, it is suggested that more research and tests for traditional casting method as well as the test for casting metal types should be conducted. 밀랍주조법에 의한 금속활자의 주조는 선행연구들에 의해서 지금까지 이론화되어 왔지만, 鑄型土의 고증에 있어서는 사용재료와 배합비율의 문제로 인해 많은 논의와 실험이 지속되고 있다. 본 연구는 밀랍주조법에 의한 금속활자 주조시 적절한 천연 주형재료의 종류와 배합비율, 물리적 특성 등을 고증하여 이를 실험해 보는데 그 목적이 있다. 이를 위해 다음과 같은 조건으로 실험을 진행하고 진행과정과 실험결과를 분석하여 보았다.

금속공예 탈납정밀주조법에서 3D 프린팅 주형 적용 기술의 융·복합 연구

조수현 한국기초조형학회 2023 기초조형학연구 Vol.24 No.2

The purpose of this study is to study duplicating molds of wax pattern used in one of the casting techniques of metal craft, lost wax casting. By analyzing limitations of soft molds made with silicone rubber, the possibility of hard molds created by 3D printing technology is explored to supplement the limitations. Because of its flexibility, soft molds have an advantage in mass production of elaborate and consistent duplication. However, there are few restrictions. For example, a pattern is necessary for mold production. There are also restrictions in making shapes of a pattern, and every pattern needs an individual mold. When using hard molds made with solid materials, the restrictions can be solved, and it is shown through the comparison to injection molds used in investment casting industry, and plaster molds used in slip casting of ceramics. 3D printing technology that is currently in the spotlight and developing in various field. Especially, using 3D program enables precise designs such as mold design, so there is a large chance of applying 3D printing technology in hard mold production. The development of lost wax casting duplicating molds of wax pattern using this 3D printing technology not only complements the limitations of existing silicon material molds but also explores new possibilities as fusion and composite research with new technologies in the field of metal crafts. The research method of this study established a theoretical foundation based on previous studies on lost wax casting and molds, and compared and analyzed the use of 3D printing molds in the metal craft field and other fields through literature surveys. As a result, by analyzing its advantages and limitations, the thesis aims to overcome the technical limitations of lost wax casting caused by applying 3D printing molds and to broaden the formative expression in metal craft.

밀랍을 이용한 금속활자의 대량주조법과 주형토의 물리적 특성에 대한 실험연구

이승철 한국서지학회 2007 서지학연구 Vol.37 No.-

This study, following the previous research on the test for the soil of mold in lost-wax casting method (published in June 2006), analyzed the method of mass production for casting metal movable types using beeswax and the physical characteristics of casting materials.It is too early to argue that the method of lost-wax casting is successfully restored, even though we find the casting materials. For instance, there are some questions to be answered regarding how much beeswax was required, and whether it is indeed economical to make types using beeswax. Even though the beeswax was easily available and used commonly for casting in those days, the huge amount of beeswax could have been needed for casting tens or dozens of thousands letters. Moreover, we have to find out the way for casting more movable metal types simultaneously rather than the casting method as presented in the previous experiments.In order to make the conditions of casting the types more objective, theorize the findings, and build the data more practically, all the conditions of the experiments such as the process of extracting beeswax and its required quantities, the quantity of types to be cast at once, the form of molds, and the physical characteristics of casting materials etc. are recorded and analyzed in this experiment.The conditions of this experiment are as follows: ① Letter types: more than 100 letters selected from Jikji ② Materials for making the mother letters & type-setting: natural beeswax ③ Mold materials: clay mixed with soft stone + yellow clay + sand ④ Metal materials: mixture-materials with bronze, tartar, lead ⑤ Used fuel: charcoal & boneblack ⑥ Experimental temperature and humidity: 20-30℃/40-70% ⑦ Place of experiment: Goesan-gun, Yeonpung-myeon. 본 연구는 이미 발표된 <밀랍주조법의 주물토에 관한 실험연구>(이승철, 서지학회, 2006.6.)에 이은 후속 실험연구로 밀랍을 이용한 금속활자의 대량주조 방법과 주형재료에 대한 물리적 특성을 분석한 것이다. 주형재료를 찾아낸 것만으로 밀랍주조법의 성공과 복원을 설명하기엔 아직 이르다. 예를 들면, 밀랍을 이용해 활자를 만들 때 밀랍의 소요량 정도와 그것이 과연 경제적이었냐 하는 것에 대한 문제를 생각해 볼 수 있다. 당시 밀랍을 쉽게 구할 수 있고 밀랍을 이용한 주물이 일반적이었다 하더라도 수만에서 수십만 자를 주조하기 위해 사용된 밀랍의 양은 엄청났을 것으로 추정되기 때문이다. 또한 책을 찍어내는 데 필요한 수십만 자의 활자를 주조하려면 기왕의 실험에서 제시한 주조법보다는 한 번에 더 많은 수의 활자를 주조할 수 있는 방법도 찾아져야 한다. 본 실험에서는 밀랍을 이용한 활자주조 조건을 보다 객관적이고 실제적으로 이론 및 자료화하기 위하여 밀랍추출 과정과 추출 및 소요량, 한 번에 주조 가능한 활자의 수량과 주형의 형태, 주형재료의 물리적 특성 등 각각의 조건들을 실험 과정별로 정리하고 분석한 것이다. 실험 환경과 조건은 다음과 같다.: ① 글자본: 직지에서 선정한 100여 字 ② 어미자 및 조판재료: 천연밀랍 ③ 주형재료: 석비레(이암)+황토+모래 ④ 금속재료: 청동, 주석, 납 등을 혼합한 母合金 ⑤ 사용연료: 숯 및 돌탄(곡수) ⑥ 실험온도 및 습도: 20-30℃/40-70% ⑦ 실험장소: 괴산군 연풍(임인호 작업실).

만형법(挽型法)을 이용한 밀납형(蜜蠟型) 석고주조기법 연구

권주한(Ju Han Kwon) 한국디자인문화학회 2012 한국디자인문화학회지 Vol.18 No.3

주금(鑄金)은 금속을 용해하여 주형에 주입한 후 목적의 작품을 만드는 것을 의미하며 그 작업과정을 주조(鑄造), 완성된 작품을 주물(鑄物)이라 한다. 이 기법의 특징은 가공성이 매우 좋으며 단순한 형태로부터 복잡한 형태의 것 까지 불상과 같이 거대한 작품부터 장신구 까지 한두개의 단품으로부터 주화와 같은 대량생산이 필요한 것 까지 제작이 가능한 특징을 갖고 있으며 현대에는 여러 가지 다양한 주형의 성형법과 주조기법 및 합금, 용해기술이 개발되어 다양한 기법의 특징을 살려 주조되고 있으며 우리생활의 근간을 이룬다 하겠다. 그러나 브론즈의 주조기법에 관해 일반적으로 잘 알려지지 않은 것은 고등교육기관에서 정규 과정으로 습득 할 수 있는 환경이 이루어지지 않고 있으며 소수의 한정된 작가가 주물공장에 의뢰하여 제작하기 때문이라 사료 되며 다양한 조형예술가 들에게 브론즈 조형 주조기법을 보다 더 깊이 이해하였으면 하는데 본 연구를 하는 목적이 있다. 본 연구는 밀납형 석고주조기법을 연구하기 위하여 만형법을 이용한 밀납형 에 의한 주조기법에 대하여 정리하고 작품 제작 순서인 1)원형제작 2)주형제작 3) 주조 및 완성의 순서로 구체적 실험과정을 통하여 밀납형 회전체 주조의 제작기법과 기술을 정립하고 이를 논하였다. 또한 현재 유럽 각국에서 널리 활용되고 있는 미술 주조기법인 석고주조기법과 극동 아시아3국(중국, 한국, 일본)의 전통기법 중 하나이며 현재 중국, 한국에서는 전통의 맥이 끊어진 만형법에 의한 회전체 주조기법을 구사하여 현대에도 활용될 수 있는 새로운 기법으로 시도, 전통과 현대의 혼용기법을 제시하고자 하였다. 특히 전문 인력 양성기관을 위한 교육현장 이나 조형작가 사이에 보다 폭넓게 활용될 것으로 기대한다. Metal casting involves creating purpose-based artworks by injecting dissolved metal into a mold. This process is called casting and the completed artworks are called cast-Bronze product. One of the characteristics of casting is its good workability. Using this technique, it is possible to create artworks from simple forms to complex forms, from grand-size pieces such as statues of Buddha to small pieces like ornaments, and from one or two single items to items requiring mass production such as coins. In modern times, a wide variety of mold forming and casting techniques as well as alloys and melting techniques have been developed, so many items are molded with each technique`s dynamic original features, and these items form the bases of our lives. Especially, I believe the reason why the artistic casting among bronze casting techniques is generally unknown is that there is no environment for the public to acquire the knowledge and practices of such casting in the regular curriculum at higher education institutions. Instead, most artworks are created by a few, but limited number of artists by requesting and commissioning to foundries. Therefore, the purpose of this study is to provide a deeper understanding of bronze molding and casting techniques to various Art and Design artists. To research the beeswax plaster casting techniques, this study first focuses on arranging the rotating beeswax casting techniques, and then establishing and discussing the rotating beeswax casting production techniques and technologies through the concrete and thorough experimental process following the production sequences of: 1) prototyping, 2) Mold manufacturing, and 3) casting and completing. The study also attempts a new modern technique that makes use of a plaster casting technique that is currently a widely-utilized artistic casting technique in many European countries as well as the beeswax casting techniques using a revolving casting method that has currently lost its legacy in Korea, but is still a traditional technique in three Asian countries: China, Korea, and Japan. Furthermore, the study presents an integrated technique between the tradition and modern, which in particular is expected to be widely utilized in educational sites including professional training institutes and among casting artists.

한국 금속활자 始原의 원천기술 및 興德寺字의 鑄造法에 관한 연구

김성수 한국서지학회 2013 서지학연구 Vol.54 No.-

This study is designed to investigate the problem about original technique of Korean metal movable type and casting process of Heungdeoksa-ja Types(興德寺字). Major findings are follows:First, Coin’s casting process influenced Korean metal movable types casting process and this method was established from 1102, the time Haedong-Tongbo(海東通寶) was made, 1211, the time Nammyeong-Song-Jeungdoga was printed in Jeungdoga-ja Types. In other words, this study determines that publishing period was 12th century. Second, this study concentrates on casting process of Heungdeoksa-ja Types. Jikji was printed in Heungdeoksa-ja Types. As a result, Jikji’s print quality is that each metal movable types’ heights were different because of casting method like ‘sand mould casting(鑄物沙鑄造法)’, so using these different matal movable types caused Jikji’s print quality. On the other hand, this study shows that each metal movable type’s heights were almost uniform if metal movable type are made by using ‘lost-wax casting(蜜蠟鑄造法)’. Therefore, this study points that Jikji’s metal movable types is not related to ‘lost-wax casting’. In short, this study insists that Heungdeoksa-ja Types was made by using other method of types founding like ‘sand mould casting’. 이 논문은 한국 금속활자 시원(始原)의 원천기술에 관한 문제 및 「직지」를 인쇄한 ‘흥덕사자(興德寺字)’의 주조(鑄造) 방법을 고찰한 연구이다. 연구의 결과는 다음과 같다. 첫째, 한국 금속활자 시원의 원천기술은 동전(海東通寶)의 주성법(鑄成法: 鑄錢術)에서 비롯되어 주자법(鑄字法)으로 진화하였으며, 고려의 해동통보가 주조된 1102년에서부터 ‘증도가자(證道歌字)’로 「남명송증도가」를 인쇄한 1211년 사이, 즉 12세기의 그 어느 시기에 성립되었을 것임을 파악하였다. 둘째, 금속활자본 「직지」를 인쇄한 ‘흥덕사자’의 활자주조법을 고찰하였다. 그 결과, 금속활자본 「직지」의 인쇄상태는, 주물사주조법 등에 의하여 주조됨으로써 그 활자의 높이가 일정하지 않고, 이러한 활자들을 식자․조판하면서 그 조판면을 수평으로 조정하지 않은 상태에서 인쇄할 때 나타나는 현상임을 파악하였다. 반면에, 밀랍주조법으로 활자를 주조할 때에는 각 활자의 높이가 거의 균정(均整: 1㎜를 벗어나지 않는 오차범위 이내)함을 확인하였다. 따라서 「직지」를 인쇄한 활자는 밀랍주조법에 의한 것이 아님을 파악할 수 있었다. 요컨대, ‘흥덕사자’는 주물사주조법 등 제3의 활자주조법으로 주조되었을 개연성이 농후함을 확인하였다.

Fabrication of PDMS Passive Micromixer by Lost-Wax Casting

Chunhui Chung,Yann-Jiun Chen,Pin-Chaun Chen,Chia-Yuan Chen 한국정밀공학회 2015 International Journal of Precision Engineering and Vol. No.

Microfluidic devices have attracted considerable attention for their applicability in disease detection, health care, and environmental monitoring. However, manufacturing at the microscale can be exceedingly difficult, particularly when dealing with devices with an intricate geometry. Most of the manufacturing methods used for microfluidic devices are unable to produce anything more complex than a simple 2.5D structure, which necessitates the bonding of multiple layers to produce a complete 3D structure. This study employs the lost-wax casting method, which is commonly used for the precision casting of metals, in the fabrication of a passive micromixer with two-layer structure using polydimethylsiloxane (PDMS) in a single-step process. The wax pattern was obtained by injection molding, whereupon PDMS was cast in the mold to produce a micromixer after dewaxing. Our results demonstrate the high fidelity of the replication process from the wax pattern to the PDMS micromixer. Furthermore, with the exception of the glass cover, no bonding is required to join multiple layers in the formation of the structure. Compared to other microfabrication methods, such as molding injection and hot embossing, the lost-wax casting method in this study is able to produce microdevices with more complex geometry without the problem of misalignment between bonding layers.

밀납형 석고주조 기법을 이용한 주형제작에 관한 연구

권주한(Kwon, Ju-han) 한국조형디자인학회 2010 조형디자인연구 Vol.13 No.1

The history of bronze has existed since ancient Egyptian period and the reason for the existence is because of the characteristics of bronze: once verdigris appears on the surface of bronze, erosion no longer happens inside so that it maintains its form without being eroded even if exposed in the air for thousands of years. In addition, the reason for using clay or beeswax as prototype for the cast is to form it freely and the beauty of the surface of bronze is something special: easily getting colors and plated by chemicals so it is being used more widely than other materials. The reason why there are some unknown facts regarding the casting technique of bronze is because there is no environment in which people learn it through regular courses at higher educational institutions instead produced in foundries requested by a few limited artists. This study has tried to set up beeswax type plaster casting technique by experimental research on the procedure from the prototype modeling to the firing and casting. The specific contents of this study are organized as follows. 1) Casting Technique by Wax Pattern 2) Prototype Production 3) Mold Production 4) Making the Kiln & Casting. The beeswax type plaster casting technique established in this research is expected to be utilized widely in industrial sites as well artistic casting industries and educational institutions for cultivating experts in Korea.

밀랍주조법을 활용한 청동반가사유상 복원 연구

윤용현,조남철,도정만 한국문화재보존과학회 2020 보존과학회지 Vol.36 No.2

고문헌 조사를 토대로 밀랍주조법을 이용한 사전실험, 재현실험을 통해 청동반가사유상 의 복원 연구를 실시하였다. 복원대상은 국보 제83호 금동미륵보살반가사유상으로, 이에 대한 과학적 분석결과를 바탕으로 합금비, 주조방법 등을 설정하였다. 사전실험에서 합금비는 구리: 주석:납=95.5:4.0:0.5로 설정하였으나, 본실험에서는 기화량을 감안하여 납과 주석을 각각 2.5% 씩 증량하여 장입하였다. 밀랍주조법을 적용하였으며, 본실험에서는 밀랍 경도 실험을 실시하여 송진 30%를 투입하였을 때 적정 강도를 가짐을 알 수 있었다. 미세조직은 일반적인 주조조직(α-Cu, δ)이 확인되었고, 성분분석 결과 선행연구와 유사한 양상을 나타내었다. 거푸집 분석결과, 구조 적 안정성과 내화성을 위해 석영 비짐을 넣었으며, 다수의 유기물이 확인되었다. 본 연구가 향후 청동반가사유상의 전통주조법과 복원기술 연구에 대한 기초 자료로 활용될 것을 기대한다. We attempted an experimental study of lost-wax casting to reconstruct the Gilt-bronze pensive Bodhisattva; The main object we aimed to reconstruct was the Korean national treasure No.83, Gilt-bronze pensive Bodhisattva(Maitreya); thus, we scientifically analyzed and measured the alloy ratio and casting method. Initially, the alloy ratio we used during the preliminary experiment was Cu:Sn:Pb = 95.5:4.0:0.5; we then increased tin and lead by 2.5% to consider vaporization during the main experiment. After applying lost-wax casting, we realized that 30% rosin contributed to proper hardness after the wax hardness experiment. The microstructure revealed normal casting character(α-Cu, δ), and the results of the chemical analysis are identical to those of previous studies. The analysis of the mold suggests the presence of quartz powder for structural stability and fire-resistance along with other organic materials whose contribution is still unknown. We expect that our research will serve to provide basic data for advanced studies in the future.