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When we discuss about the Tempy? sculpture, we tend to emphasize its relationship with the T'ang dynasty. That is because the T'ang dynasty's influence seems stronger than Shilla's. However, if we take a good look at Tempy? sculpture, the Shilla's influence is just as strong as T'ang dynasty's. It displays both formalistic and stylistic aspects. Namely T'ang dynasty expresses a formalistic aspect and Shilla expresses a stylistic aspect.
Japanese continued to assimilate Chinese culture from the late 7th century to 8th century. At the beginning of the 8th century, Japan resumed its relationship with T'ang by sending the envoys again, but they had to use the vessel of Shilla due to the lack of its own independence as was written by Enine(圓仁). the Japanese monk.
Now Shilla kept almost the same level with T'ang in the Buddhist thoughts. That thoughts and the talented men of Buddhist in Shilla had a great effect covertly on the group of leaders of Japan with the royal authorities as the central figures. That power of influence was exercised on the Buddhist sculpture both directly and indirectly. For example, the great part of Sutras of Japan were annotated by the people of Shilla and also Hwaom-jong(Avatamsaka sect) and Bopsang-jong (Dharmalaksana sect) in Japan became developed by the relationship with Shilla. That time the Buddhist art was appeared and the monks and the teachers of Shilla had a great role in that part. too. Because of this background the Buddhist sculpture of the Unified Shilla influenced Tempy? Era in Japan to an enormous extent.
The Buddhist sculpture of Tempy? received T'ang's form actively by resuming to send the once stopped envoys to T'ang, but the absolute influence of Shilla during the Hakuh? Era let this country remained under this effect until the first half of the 8th century. At the end of the 7th century, Japan received the new and various form and style of Buddhist sculpture of the early T'ang Era through shilla. Shilla and Japan adopted this form according to its own taste and this became the character of the Buddhist statue of Tempy? Era. Therefore, the Buddhist statues of Tempy? Era borrowed the form of the Buddhist statue of China through shilla, but the element of Shilla is revealed abundantly in the form of its inner side. These Buddhist statues which had the elements of Shilla were progressed to the international styled ones and these progresses are joined together into Taima-dera MirokuButsu(Maitraya-buddha) → Kaiman-ji ShakaNyorai Butsu → Yakusi Trinity and Sh?kannon Bosatsu, so that style reached the summit at T?daiji Great Budda in the middle of the 8th century. Until the middle of the 8th century, the Tempy? Era received the influence of Shilla traditionally and also took the effect of T'ang through Shilla to form the international style.
First of all. the Japanese and the Shilla had different preferences toward Buddhist image, which led formalistic distinction. The iconography and form taken at the latter part of the 7th century became the features of each country's statues of the 8th century.
Nevertheless, when we take a look at the stylistic aspect, Tempy? sculpture was clearly influenced by the Shilla. It also borrowed from T'ang dynasty's style and therefore enabled it to build up international style. Speaking of stylistic aspect, assimilation of Chinese culture continued through 8th century.
The reason why the Japanese scholars only put an emphasis on the exchanges with T'ang was based on the fact that the T'ang's elements are mainly seen on Tempy? Buddhist sculpture. But at that time the direct Japanese contact with T'ang was impossible until the middle of the 8th century. So Japan had to go through the vessels or the envoys of Shilla. Thus, at the latter part of the 7th Japan received the various forms and styles through Shilla and these two countries chose different forms and styles and these characterized the form of sculpture of the 8th century.
Therefore, in the ancient Japanese sculpture the continental culture was received through Shills's existence which are not only important but could not be overlooked at all.
Japanese continued to assimilate Chinese culture from the late 7th century to 8th century. At the beginning of the 8th century, Japan resumed its relationship with T'ang by sending the envoys again, but they had to use the vessel of Shilla due to the lack of its own independence as was written by Enine(圓仁). the Japanese monk.
Now Shilla kept almost the same level with T'ang in the Buddhist thoughts. That thoughts and the talented men of Buddhist in Shilla had a great effect covertly on the group of leaders of Japan with the royal authorities as the central figures. That power of influence was exercised on the Buddhist sculpture both directly and indirectly. For example, the great part of Sutras of Japan were annotated by the people of Shilla and also Hwaom-jong(Avatamsaka sect) and Bopsang-jong (Dharmalaksana sect) in Japan became developed by the relationship with Shilla. That time the Buddhist art was appeared and the monks and the teachers of Shilla had a great role in that part. too. Because of this background the Buddhist sculpture of the Unified Shilla influenced Tempy? Era in Japan to an enormous extent.
The Buddhist sculpture of Tempy? received T'ang's form actively by resuming to send the once stopped envoys to T'ang, but the absolute influence of Shilla during the Hakuh? Era let this country remained under this effect until the first half of the 8th century. At the end of the 7th century, Japan received the new and various form and style of Buddhist sculpture of the early T'ang Era through shilla. Shilla and Japan adopted this form according to its own taste and this became the character of the Buddhist statue of Tempy? Era. Therefore, the Buddhist statues of Tempy? Era borrowed the form of the Buddhist statue of China through shilla, but the element of Shilla is revealed abundantly in the form of its inner side. These Buddhist statues which had the elements of Shilla were progressed to the international styled ones and these progresses are joined together into Taima-dera MirokuButsu(Maitraya-buddha) → Kaiman-ji ShakaNyorai Butsu → Yakusi Trinity and Sh?kannon Bosatsu, so that style reached the summit at T?daiji Great Budda in the middle of the 8th century. Until the middle of the 8th century, the Tempy? Era received the influence of Shilla traditionally and also took the effect of T'ang through Shilla to form the international style.
First of all. the Japanese and the Shilla had different preferences toward Buddhist image, which led formalistic distinction. The iconography and form taken at the latter part of the 7th century became the features of each country's statues of the 8th century.
Nevertheless, when we take a look at the stylistic aspect, Tempy? sculpture was clearly influenced by the Shilla. It also borrowed from T'ang dynasty's style and therefore enabled it to build up international style. Speaking of stylistic aspect, assimilation of Chinese culture continued through 8th century.
The reason why the Japanese scholars only put an emphasis on the exchanges with T'ang was based on the fact that the T'ang's elements are mainly seen on Tempy? Buddhist sculpture. But at that time the direct Japanese contact with T'ang was impossible until the middle of the 8th century. So Japan had to go through the vessels or the envoys of Shilla. Thus, at the latter part of the 7th Japan received the various forms and styles through Shilla and these two countries chose different forms and styles and these characterized the form of sculpture of the 8th century.
Therefore, in the ancient Japanese sculpture the continental culture was received through Shills's existence which are not only important but could not be overlooked at all.
목차
Ⅰ. 머리말
Ⅱ. 天平 佛敎彫刻의 형식
Ⅲ. 天平 佛敎彫刻과 統一新羅 彫刻의 양식적 관계
Ⅳ. 맺음말
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