Condition report on Komainu for Sheridan Wyoming

PATRICK KIPPER
Specializing in Bronze Patination/Conservation
138 12th St. S.E.
Loveland, CO 80537 USA
CONDITION REPORT
For the City of Sheridan, Wyoming
On
Komainu Lions
Lion on right facing entrance to park
(mouth open—“A” pronounced au)
Lion on left facing entrance to park
(mouth closed---“Um”)
Project: Condition report for the City of Sheridan, Wyoming
Art Title: Komainu (Japanese for Korean Dogs)
Artist: Unknown
Origin of Artwork: Kyoto, Japan
Location: Kendrick Park, Sheridan, Wyoming
Present Owner: Sheridan, Wyoming
Medium: Bronze Alloy—approximately 90%Cu, 10%Sn, bolted together with 20th
century iron ally bolts (rough steel). Areas of cloisonné
Date of Inspection and Assessment: June 8, 2012
Contracted Fine Arts Conservator: Patrick Kipper, Loveland, CO
Contact Personnel: Fachon Wilson, Sheridan, Wy
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Brief Provenance
The above photos taken are those of two bronze Komainu (Japanese for Lion-dog) that
have been at the main automobile entrance of Kendrick Park, in Sheridan, Wyoming
since 1919, according to City library records as well as archives from The Sheridan
Enterprise, Vol. XI, No. 184, dated May 7, 1919. These Komainu were donated by
Sheridan citizen, Mr. Peter Neiter. These two bronzes had supposedly been at the
entrance of the Japanese Pavilion at the 1915 Panama-Pacific International Exposition
(World’s Fair) held in San Francisco, California, although photo archives from this
exposition do not show any photos of the entrance to this pavilion. Also, photos showing
the main entrance to the 1915 World’s fair do not show any lion statuary. According to
Mr Neiter however, they came from said pavilion (Taken from archival files/Sheridan
Enterprise-May 7, 1919, page 1 &5). According to the Sheridan Enterprise listed above,
said article mentioned that Mr. Neiter paid over $10,000 dollars for said pair, which
would have been a substantial sum at that time in the early 20th Century. According to
further records from the Sheridan Library as well as The Sheridan Enterprise Archives,
Mr. Neiter had attended this particular World’s Fair and had purchased these Lions once
the fair had closed. Upon arrival to Sheridan, these Lions were placed on 3 ft moss rock
and mortar plinths on either side of the automobile entrance to the above listed park
where they remain to this day.
Origin of the Sheridan Komainu Pair
Many of the archival dissertations regarding these two above listed Komainu lions
suggests that they originated in China and were from the Chinese Pavilion of the same
1915 World’s Fair. The style as well as the writing that is on said lions indicates that they
were not from China nor were they within the confines of the 1915 World’s Fair Chinese
Paviliion. From photo archives of that fair and the Chinese Pavilion, color plates show
that there were two lions in front of the Chinese pavilion, but these were made of stone
and were carved in the traditional Chinese style of Foo-lions. This classical style shows
the lions to be much heftier in their build, plus both have mouths open. Another
distinguishing mark of Chinese Foo Lions is that the female Lion will have her left front
paw on the stomach of a small cub and the male lion will have a small ball resembling the
earth and empire of China under his right front paw. The two Komainu lions do not have
said lion cub nor the earth ball under their perspective feet but rather have the more
classic Japanese and Korean style of all 4 feet touching the base. The classic Chinese
designs also show the curls of the lion manes to be much different in style than those of
the above listed Komainu, and the heads are pointed downward on Chinese Foo lions as
opposed to the Japanese style, where the heads tend to face straight forward. The mouths
of the classic Chinese lions show them in a snarl look with both lions having their mouths
open, which is not the case with these two lions belonging to the City of Sheridan.
The classic Chinese Foo lions were developed and used as spiritual protectors in front of
royal palaces of the “Son of Heaven”(Chinese Emperor) during the early periods of the
early Han Dynasty (206 BC to 220 AD) and later were also used in front of Imperial
tombs, government offices, the homes of government officials, etc., for the same purpose
of protecting and perpetuating wealth to those who were in possession of said lions
(Taken from Wikipedia.com=Chinese guardian lions). Later on in history as Buddhism
came into China during the Tang Dynasty, the Foo Lions were being placed in front of
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Buddhist temples in order to help protect the temples from evil demons that roamed the
earth. The religion of Buddhism came to Japan through commercial trade from Korea
which had engulfed the Buddhist religion from China as it was exposed more to it’s
culture through trade. When the idea of the Foo Lion came into Korea, people felt that
they looked more like dogs than lions, so they became “lion dogs”, and were placed in
the entrances of Buddhist temples and homes of wealthy merchants. From there as
Buddhism spread to Japan in the 7th Century AD, so did the Foo Lions, but the Japanese
referred to them as Komainu—translated in English means Korean dog. Originally in
Japan they were placed inside of temples and great homes, but later on in the 14th
Century, they were moved outside on either side of entrances into said temples and
private estates. In Korea, the style of the original Foo Lion had changed once it was
engulfed further into the Buddhist religion in that the mouths of the lions were changed—
one with mouth open and one with mouth closed. This was to symbolize the
Hindu/Buddhist meditation mantra “Aum”. The female lion is noted by it’s mouth
open—thus the “A” or au sound—this corresponds to the Yin Yang concept where the
Yin is feminine , and the male is noted for it’s mouth being closed and thus saying
“um”—so together they represent the mantra “Aum”.
Fig. 1. This photo shows Japanese Komainu on either side of entrance to Buddhist
Temple, Kyoto, Japan. (From Wikipedia.com) A pair of Komainu, the “-a” on the right,
the “-um” on the left (taken from Wikipedia.com=Chinese Guardian lions)
Another finding that shows that these Komainu are Japanese in origin is the foundry mark
that is found on the bronze base section behind the front feet and in front of the belly
sections of said lions (please see fig.2 below) This translates in English from Japanese to
read “The Greater Japan”, and “Kyoto”, which is the city where it was cast. However the
casting company could not be translated except for that it was a casting company in
Kyoto.
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Fig.2 Foundry seal or mark that is on top of bronze base section in front of bellies of
both Komainu.
There is also a marking on the front of the foot of the male as shown in Fig. 3 below and
this one is translated in English from Japanese as saying “Front”. This would have been a
foundry mark for instruction on which way the lion should face. This is a common
practice still used today in most modern art foundries, whereby, certain instructions on
mounting and assembling are carved into said bronze metal surfaces.
Fig. 3 shows instructions in Japanese as to the “Front” of the bronze base that should
show the facing of the lion when mounted on said base.
So as a result of the Japanese translations of the foundry marks as well as carved foundry
instructions on the metal surfaces of these bronzes, the origins of these Komainu are
Japanese and not Chinese as was originally believed.
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Present Condition of Komainu
These two Komainu are in wonderful shape considering that they have not been
maintained since installation some 92 years ago (This information based on lack of local
records indicating otherwise). The original patina is unknown but from close inspection
of said patinas now, it looks as though the original may have been more of a dark
traditional brownish hue and value, as can be seen in very minute areas of existing patina
where brownish coloration tends to come up through the overlying Verde patina that is
now mostly predominant. The Lions have cloisonné that has been applied to large tassel
areas along the collars of said lions as well as cloisonné applied along inner collards on
each side of the bronze base sections. (Please see Figs. 4 & 5 below) These Cloisonné
areas are in good shape but have received minor damage due primarily to vandalism, at
least on the tassel areas—These tassel areas look as though they have been hit by rocks,
etc., which has chipped away some of the original blue enamel on said tassels. (please see
Fig. 4.)
Fig 4, shows collar tassels on lions that have been chipped from rock throwing, etc..
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Fig. 5 shows cloisonné work along base sections of both lions. Patterns are identical from
lion to lion, which indicates that the bases were produced from one mold and workshop
area and that the lions were attached upon completion of said cloisonné application, etc…
The Cloisonné is almost intact on bronze base sections with the exception of minor
vandalism noted in Fig. 6 which shows a bullet hole that has torn a hole through the
bronze casting itself and has slightly disturbed the cloisonné surrounding said bullet hole.
Fig. 6 shows bullet hole on left hand side of male lion base section—lion with mouth
closed. Very little Cloisonne has been disturbed as a result.
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Fig. 7 shows a very minute piece of Cloisonné that has been lost due to expansion and
contraction of metal surfaces. The small piece that is missing is just above and to the left
of the ring that holds the tassel to the collar. The missing chip is only about 1/8 inch
across. The cloisonné pigmentation used within the enamels are white (probably zinc
based), red cinnabar or red iron oxide based, and green—believed to be chromium based.
There are small square “plugs” that can be seen as brighter green small squares on said
metal surfaces here and there. Please see Fig.s 8 & 9. Traditionally, these were placed in
order to fill small holes and other casting imperfections that were in said metal surfaces.
The original casting flaw such as a hole was filed out into a small square, and then a
“tooled piece of copper (in most cases) was used and gently pounded and “chased” into
said surfaces in order to fill such holes.
Figs 8 & 9 show small square copper pieces that were used to fill surface holes and
other surface imperfections. As a result of these small plugs being made from pure
copper, the patina aging and thus coloration shows up a bit brighter than the surrounding
bronze casting which would have probably had more like a 80 to 90% copper makeup
with the bronze alloy.
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The above information has to do with both Lion figures and their accompanying bronze
base sections. Since each lion has unique problems of their own, this report will now deal
with each lion individually. So in order to keep both lions in their perspective order, Lion
1—the male lion—with mouth closed, will be first, followed by the second or female lion
which will be referred to as Lion 2.
Lion 1
Lion 1, as opposed to Lion 2, has more issues regarding conservation requirements,
therefore this lion will be addressed first. Besides the damages due to gun fire as seen in
Fig.6, and chipping of cloisonné on said tassels in Fig. 4, and small breakage of cloisonné
on collar in Fig. 7, there is a crack on the base section of Lion 1, (please see Fig. 10
below). Also there is a casting hole in base section on same side of Lion 1—left side
(please see Fig. 11
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Fig. 10 shows crack in base section below. This crack is believed to be from ice
formation that built up behind the bronze and against stone and concrete plinth section,
causing the bronze to crack from ice expansion.
Fig. 11 shows casting flaw in base section that has become more apparent over the years
with ice forming in said hole, thus causing this hole to expand and become larger with
time.
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Fig. 12 shows a crack in the metal where ice forms in the connecting area where the tail
attaches to said lion body. This crack may also have been formed as a result of people
climbing on and pulling at the attached tail section. This is seen on Lion 1 only. The tail
is very loose as a result repairs should probably be addressed at some point so as not to
weaken the bronze casting any further in this area.
Fig. 13 shows side view of the gap that remains from the above mentioned damage
between tail attachment to lion’s body. This gap allows the tail section to be somewhat
loose thus making for possibly easy removal by theft in the near future.
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Fig. 14 shows 20th century iron alloy bolts and washers that have been used in order to
attach the bronze lion body to the bronze base section along with stone plinth. These iron
alloy bolts and washers should be replaced with bronze or brass bolts and washers for
best protection against electrolysis of metals to take place, not to mention iron oxides that
would stain the existing green natural patina, emanating from said bolts. If electrolysis
develops, what occurs is that the copper within the bronze alloy will begin to dissolve or
reduce down—causing a gap or hole within said castings, which also will leave a week
point in said metal castings. These bolts and washers should be replaced on both Lions 1
and 2.
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Fig. 15 shows a horn on top of the male head which also indicates that it is Japanese in
origin. The golden eyes are believed to have been originally fire gilded, which has
enabled the eyes on both figures to remain golden in coloration.
Fig. 16 detail showing remnants of fire gilding of gold originally deposited on eyes.
Fig. 17 shows an example of lines where metal brazing of bronze panels were assembled
in order to complete the body sections of the lion bodies.
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Lion 2
Lion 2 has fewer deteriorating issues than does Lion 1 but some of the problems
associated with Lion 1 should be also addressed with Lion 2. For example, the body of
Lion 2 was attached to it’s base section also with iron bolts and washers which should be
replaced soon with bronze and/or brass bolts and washers in order to avoid metal
electrolysis.
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Fig. 18 shows that there is some sort of interior iron rod that was used to help support and
attach the tail of Lion 2 to the body of said lion. The iron oxide that has developed from
the reduction or oxidation process of iron is a sign that this is the case.
Fig. 19 shows the tail attachment section of Lion 2 is in much better shape than on Lion 1
but the tail section is still somewhat loose either and/or from people climbing on said
sculptures and/or from ice that collects in the connecting seam and expanding said metal
sides so they separate.
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Figs. 20 shows expansion gaps in the original brazing repair along curls in the tail section
of Lion 2. These are believed to be stress cracks from excess weight pushed down on said
metal surfaces—probably from people climbing on said surfaces over the years. The tail
is somewhat loose but nothing like the looseness of the tail section on Lion 1.
Fig. 21 shows the front side of the ears on Lion 2 where it looks as though it has been
dragged at some point. There was an incident where one of these lions was stolen for a
short time and this may be the remains of an otherwise hasty removal of said bronze
sculpture from it’s original setting.(Taken from the Sheridan Press/May 6, 1965, page 3).
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Fig 22 shows an example of one of the fire gold gilt eyes on Lion 2. Scratches in said
gilding can be seen readily in the above photo. Please note that the pupils are much
smaller on Lion 2 than on Lion 1.
Fig. 23 shows a small casting hole that is believed to have been wrongly filled with
copper at one point so as a result has fallen through due to exposure to the elements over
the years.
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Fig. 24 shows an area of bronze that has been shifted and thus broke away from the
original casting. This is another indication that this may be the Lion that was stolen in the
1960s.
Fig. 25 shows the cloisonné that has been chipped to do rock throwing, etc… This looks
to have been done recently.
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RECOMMENDED TREATMENT
First and far most, as little treatment as necessary is highly recommended for these two
Komainu bronzes so as to keep the present look and thus keep the present value. Any
major renovation, etc., will do more damage than good as far as maintaining it’s present
value as an Asian antique. Before they are damaged further from the harsh weather
conditions that Sheridan, Wyoming experiences, especially during the winter months, it is
highly recommended that these two Komainu be moved indoors, possibly the City Hall,
public museum, Library, or other municipal buildings. This will keep the delicate
cloisonné from deteriorating further plus keep stress lines from cracking further due to
harsh ice expanding and contracting in the cold of winter months.
Prior to moving the above listed bronzes indoors, it is also recommended that the iron
bolts and washers be removed and replaced with bronze and/or brass bolts and washers.
If the crack in the tail of Lion 1 is requested to be repaired, then it should be welded using
a sliver from inside the base section of the lion and use this as welding rod. This will
keep the alloys all consistent within the casting itself. This will also make for a patina
touchup that will not be seen once done due to different alloys of metal—that is if a
different alloy were to be used other than what the pieces are cast from. The welding of
the crack in the tail section as seen in Fig. 12 on Lion 1 is more for aesthetics than for
structure because if this bronze is moved indoors, nothing else should happen as far as the
crack weakening, etc…
Another reason why this bronze pair should be moved out of the damaging elements is to
protect the existing fragile cloisonné that has remained for over 92 years now. It will
continue to deteriorate if left outside much longer. This will be due to the expanding and
contracting of the brass channels that are soldered to said metal bronze surfaces of the
cast lions. When this expansion/contraction occurs, this puts unneeded stress to the
enamel that is pooled between said brass channels. Once one piece begins to flake, this
will cause a continuous loss of said cloisonné. Leaving open channels of lost enamel.
This can be avoided by moving these bronzes out of the elements. If cloisonné is lost, this
could lower the value of these bronzes.
Once these bronzes are moved and before installed in a safer environment, they should be
washed with a non-ionic detergent and dried with clean soft cotton towels. Then once the
surfaces are dry, one very thin coat of a conservator’s paste wax should be applied to said
metal surfaces using a soft clean natural bristle paint brush. The wax should be left to dry
which should only take a few minutes, then the entire sculpture should be shined to a
satin finish. This wax application will protect said bronze surfaces for a few years at
least—but this is for an indoor environment.
If it is decided that the bronzes are to be repaired first—like the tail section on Lion 1,
then this should be carried out in a more controlled environment such as a conservator’s
studio. Then once damages are repaired, then said lions should be returned to Sheridan
and placed in an indoor setting.
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If anyone having anything to do with the Komainu Lions listed above has any question or
concerns regarding anything mentioned in this report, please feel free to contact me at the
below contact information.
Thank you,
Patrick Kipper
138 12th St. S.E.
Loveland, CO 80537 USA
www.patrickkipper.com
[email protected]
Ph (970)-663-3363
Fax (970)-663-0982
PA-AIC, NSS
Over 35 years experience in the art of Bronze Patination and science of Art Conservation
Member of the American Institute for Conservation of Historic and Artistic Works (AIC)
And the National Sculpture Society (NSS)
Specifications of Komainu:
Dimensions; Male Figure—lion 1 with horn on head—lion on base section is 69” tall X
52 & 3/8” long ( base section) X 37” wide (base section)
Female Figure---lion 2 without horn on head—lion on base section is 66”
tall X 52 &3/8” long (base section) X 37” wide (base section)
Metal alloy: bronze alloy of tin and copper—mostly copper at approximately 80 to 90
percent and the rest being tin. Gold fire gilding on eyes of lions. Enamel cloisonné on
collar and tassels and then again on all sides of bronze base section.
Disassembly
It is felt that the lions are assembled and locked into place by use of metal pegs that are
extended out of the stone and mortar plinths. The bronze base sections are slid down over
said extended rods and then the lions are placed on top of said rods, whereby they are
bolted to or through said rods by use of iron bolts and washers as seen in Fig.s 13, 14, and
24. To remove said lions from their existing plinths, all that should be necessary is to
remove said iron bolts and washers, lift lion body castings from said rods and bronze
bases, then lift square bronze base sections over said metal pegs or rods.
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RESEARCH DOCUMENTATION
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Documentation also taken from the Sheridan Press:
June 29, 1954, page 2
November 21, 1957
May 6, 1965, page 3
Above information researched and compiled by Fachon Wilson and Patrick Kipper.
Sheridan Wyoming Contact—Fachon Wilson.
Contracted Fine Arts Conservator---Patrick Kipper PA-AIC, NSS
Date of inspection and assessment June 9, 2012, Sheridan Wyoming