지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2002.6
- 수록면
- 95 - 138 (44page)
이용수
초록· 키워드
오류제보하기
This article is about the lineage of Buddhist large stucco sculptures that has been popular after the Japanese Invasion of Korea in 1592, during the Chosun Dynasty. 7 sets of images were selected for the analysis: images of "three times of the Buddha (三世佛)" in temple Song-gwang (松廣寺) and in temple Gap (甲寺): images of "three bodies of Buddha (三身佛)" in temple Bup-ju (法住寺) and in temple Gui - sin (歸信寺): images of "three bodies of the Buddha" in temple Sun - woon (禪雲寺): images of two Bodhisatva in temple Gum - san (金山寺): images of three Buddhist deities in temple Mu - liang (無量寺),
These images were enshrined in the central buildings (which were usually multi-stories) of those temples, which hold the most significant position in the Chosun period. Buddhist paintings were placed behind the images instead of the representations of halo, Images were placed on the main altar or behind it. Natural Gay was used to build these sculptures, and they were dried with air without applying heat. They were usually above 4 meters high, and due to their largeness, images could have enough space in their belly part for containing holy relics. The specific height of 4 meters has been considered as identical to the height of "6 - Jiang (a measure of length, 丈六, 16尺) - statue" , the statue which was regarded as the first image built after Sakya - Muni Buddha's physical body. Therefore, it would be clear that these large stuccos are parts of the long tradition of "6- jiang - statues (丈六佛像)", which can be traced back to the first making of Buddhist image in Korea.
First of all, I tried to determine the dates when they were manufactured, by stylistic analysis and by examining related written sources. As stylistic characters, these stuccos commonly have large size, stiff and cubic modeling, and simple and straight outlines. With support from written records, it can be suggested that these characters show aspects after the Japanese Invasion of Korea in 1592 in producing Buddhist sculptures. In other words, these stuccos were made at the time when new styles in image making emerged and started to prevail after the Japanese Invasion of Korea in 1592. However, as early examples of this new phase, they still had some features of the past, which are easily found in the 16th century's "6 - jiang - statue" in temple Kirim (祈林寺).
Triggered by the Manchurian invasion into the Chosun Dynasty in 1627 after the Japanese Invasion of Korea in 1592, the first half of the 17th century became a turning point in the political circumstances among China, Korea and Japan. This major change also caused various innovations in artistic production. Korean Buddhism, which had been oppressed from the time of the dynasty's foundation, finally gained governmental favor due to the positive role of the monk's force in fighting against Japanese invasion, as well as the spiritual consolation that Buddhism could provide to survivors of the war. Therefore, nation- wide restoration of Buddhist temples took place under tacit approval of the government, and a series of "6 - jiang" stuccos were produced along with this restoration.
Second, I tried to show that the majority of Buddhist stuccos after Japanese Invasion of Korea in 1592 represent the "three bodies" and "three times" of Buddha. The formation of "three times of Buddha" was adopted as a special concept, whose members are Sakya (center), Bhaisajyaguru (left), and Amitabha (right). The example of "three generation" in temple Gap is the oldest as a formation consisting of 7 Buddhist deities, and the example of "three generation" in temple Song-gwang is the oldest in this sort. The example in temple Bup - joo is the largest in size among the examples of "three bodies" , which consist of Buddha's images only.
In this article, I explained that the formation of "three bodies and three times of the Buddha" is a fusion of "three bodies of the Buddha" and "three generation of the Buddha", fusion that was motivated by the formation of "five buddhist deities". This complicated formation of "three bodies and three generation" is consisted of the main Buddha of 'three bodies", Virocaina, and the supportive Buddhas in the "three times", Bhaisajyaguru and Amitabha.
Third, I explained in the context of art history, the meaning of Buddhist large stuccos after Japanese Invasion of Korea in 1592. First, each artifact occupies the central role in the most significant Buddhist temples of Chosun period, Second, they were all produced during the first half of the 17th century, the time that is estimated to be the turning point in the history of the Chosun dynasty. and locations of these stuccos are concentrated around Chung-chong and Chon -Ia province, and certain historical conditions were involved in this tendency.
Fourth, iconographic analysis on these images has yielded some important suggestions about the makings of Buddhist the images and the religious worship around these images in 17th century. Fifth, through examining sealed relics found inside these images, it became clear that the participation of local gentlemen and lay people was critical in the makings of these idols as well as in performing ceremonies. It was also found out that confucian concepts of loyalty and filial piety were combined with Buddhist doctrines in this process.
These images were enshrined in the central buildings (which were usually multi-stories) of those temples, which hold the most significant position in the Chosun period. Buddhist paintings were placed behind the images instead of the representations of halo, Images were placed on the main altar or behind it. Natural Gay was used to build these sculptures, and they were dried with air without applying heat. They were usually above 4 meters high, and due to their largeness, images could have enough space in their belly part for containing holy relics. The specific height of 4 meters has been considered as identical to the height of "6 - Jiang (a measure of length, 丈六, 16尺) - statue" , the statue which was regarded as the first image built after Sakya - Muni Buddha's physical body. Therefore, it would be clear that these large stuccos are parts of the long tradition of "6- jiang - statues (丈六佛像)", which can be traced back to the first making of Buddhist image in Korea.
First of all, I tried to determine the dates when they were manufactured, by stylistic analysis and by examining related written sources. As stylistic characters, these stuccos commonly have large size, stiff and cubic modeling, and simple and straight outlines. With support from written records, it can be suggested that these characters show aspects after the Japanese Invasion of Korea in 1592 in producing Buddhist sculptures. In other words, these stuccos were made at the time when new styles in image making emerged and started to prevail after the Japanese Invasion of Korea in 1592. However, as early examples of this new phase, they still had some features of the past, which are easily found in the 16th century's "6 - jiang - statue" in temple Kirim (祈林寺).
Triggered by the Manchurian invasion into the Chosun Dynasty in 1627 after the Japanese Invasion of Korea in 1592, the first half of the 17th century became a turning point in the political circumstances among China, Korea and Japan. This major change also caused various innovations in artistic production. Korean Buddhism, which had been oppressed from the time of the dynasty's foundation, finally gained governmental favor due to the positive role of the monk's force in fighting against Japanese invasion, as well as the spiritual consolation that Buddhism could provide to survivors of the war. Therefore, nation- wide restoration of Buddhist temples took place under tacit approval of the government, and a series of "6 - jiang" stuccos were produced along with this restoration.
Second, I tried to show that the majority of Buddhist stuccos after Japanese Invasion of Korea in 1592 represent the "three bodies" and "three times" of Buddha. The formation of "three times of Buddha" was adopted as a special concept, whose members are Sakya (center), Bhaisajyaguru (left), and Amitabha (right). The example of "three generation" in temple Gap is the oldest as a formation consisting of 7 Buddhist deities, and the example of "three generation" in temple Song-gwang is the oldest in this sort. The example in temple Bup - joo is the largest in size among the examples of "three bodies" , which consist of Buddha's images only.
In this article, I explained that the formation of "three bodies and three times of the Buddha" is a fusion of "three bodies of the Buddha" and "three generation of the Buddha", fusion that was motivated by the formation of "five buddhist deities". This complicated formation of "three bodies and three generation" is consisted of the main Buddha of 'three bodies", Virocaina, and the supportive Buddhas in the "three times", Bhaisajyaguru and Amitabha.
Third, I explained in the context of art history, the meaning of Buddhist large stuccos after Japanese Invasion of Korea in 1592. First, each artifact occupies the central role in the most significant Buddhist temples of Chosun period, Second, they were all produced during the first half of the 17th century, the time that is estimated to be the turning point in the history of the Chosun dynasty. and locations of these stuccos are concentrated around Chung-chong and Chon -Ia province, and certain historical conditions were involved in this tendency.
Fourth, iconographic analysis on these images has yielded some important suggestions about the makings of Buddhist the images and the religious worship around these images in 17th century. Fifth, through examining sealed relics found inside these images, it became clear that the participation of local gentlemen and lay people was critical in the makings of these idols as well as in performing ceremonies. It was also found out that confucian concepts of loyalty and filial piety were combined with Buddhist doctrines in this process.
목차
Ⅰ. 머리말
Ⅱ. 造像傳統과 造成背景
Ⅲ. 圖像形式
Ⅳ. 樣式的 特徵과 編年
Ⅴ. 彫刻史的 意義
Ⅵ. 맺음말
ABSTRACT
참고문헌 (0)
참고문헌 신청함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
불교조각사와 교재
미술사학
2005 .08
-
한국 불교조각 연구 어떻게 할 것인가
미술사학연구(구 고고미술)
2004 .03
-
불교음악 콘텐츠 개발 방안 연구
음악과 문화
2013 .01
-
近代 以後 紅袈裟 제작에 관한 연구
한복문화
2012 .08
-
百濟 6세기 후반 蠟石製 佛像 硏究
미술사학연구(구 고고미술)
2006 .09
-
中國 山東省 佛像과 三國時代 佛像
미술사논단
2004 .12
-
孝寧大君과 朝鮮 初期 佛敎美術 : 後援者를 통해 본 朝鮮 初期 王室의 佛事
미술사논단
2007 .12
-
Image of Korea
한국디자인학회 국제초대전도록
2019 .06
-
Image of Korea
한국디자인학회 국제초대전도록
2014 .05
-
신라하대 비로자나삼존불상의 양식특징과조성배경에 관한 고찰
불교미술사학
2018 .01
-
충청북도 제천ㆍ단양 지역의 朝鮮 後期 木造佛像
미술사연구
2009 .12
-
불국사의 건축과 부처바위의 부조에 나타난 계층별 신앙 비교연구 : 남산 부처바위에서 예불공간의 진입순서를 중심으로
민족미학
2005 .06
-
양주 회암사지 유구 분석을 통해 본 시기성과 조선시대 사찰에 미친 영향
불교미술사학
2019 .01
-
조선 전기 불화의 서사적 표현, 佛敎說話圖
미술사논단
2005 .12
-
高麗時代 佛腹藏의 形成과 意味
미술사학연구(구 고고미술)
2015 .03
-
근대기 불교조각의 특징과 일본 불상의 유입
미술사학연구(구 고고미술)
2019 .09
-
고려전기 남한강 문화권의 형성과 불상조성
미술사학연구(구 고고미술)
2015 .03
-
朝鮮 後期 佛卓 연구
미술사학연구(구 고고미술)
2004 .12
-
불교 伽藍의 중국화에 관한 문제
미술사연구
2014 .12
이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2009-609-016481572