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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2003.9
- 수록면
- 35 - 56 (22page)
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Sinicization in the Southern and Nothern Dynasties period is one of the most crucial issues in Chinese art history. It is widely admitted that Han (漢) people played a more important role than non-Han people in representing the Buddhist of this period. although most of examples remain in the territories of the Northern dynasties. It can not be easily decided who took the initiative in creation of Chinese Buddhist arts.
It seems that the Buddhist art in this period was not heavily influenced by Indian models. Even if they borrowed the basic iconography, they could not be free from their own artistic tradition. This tradition can be traced back to the Han period, whose art formed the classical form and style in Chinese art. Some of the art motifs, such as dragon (龍), pushou (鋪首), lienli trees (連理木), in Han came into use in the Buddhist art in the Southern and Northern Dynasties.
First of all, Chinese artisans used the dragon motifs instead of n?ga. As many Buddhist monks translated the Sanskrit word for n?ga into dragon in Chinese, they could easily borrow and use the dragon images from their traditional representation. The Chinese people in this period seems to imagine the reality of the Buddha from the dragon. At first, they used the dragon motif in the upper part of the niche. Afterward they added more Buddhist implications to the dragon motif. Some of the dragons were represented with lotus buds or flowers growing from their mouth. Moreover, men come out from the lotus out of the dragon in Lienhuadong (蓮華洞), in Longmen (龍門) Caves. It reminds us of the famous images of "Reborn in the western paradise from lotus (蓮華化生)".
Another art motif borrowed from the Han tradition is pushou. Pushou was widely represented in ancient Chinese art for the purpose of chasing off all the evils. The Buddhist artisans thought the pushou would be helpful to protect the Buddhist world and it could prevent all the evil intruders. One can find the pushou images everywhere at Guyangdong (古陽洞) in Longmen.
The Buddhists in the Eastern Wei (東魏) and the Northern Qi (北齊) also owed the ancient Confucianists for the symbolic motifs in their Buddhist arts. As the lienli tree motifs symbolized the Confucianists' loyalty to their emperors, the lienli tree halo behind the Siwei image (思惟像) in the Freer Gallery had the same meaning. At first the lienli tree halos were used for the Siwei images around the Hebei (河北) province. Then this motif were used more widely in other bodhisattva and Buddha images. One can explain it was a kind of the Buddhists 'effort to show their loyalty, one of the most important values in Confucianism, to their emperors during the period of disorder.
When the Buddhists used the traditional art motifs transmitted from Han China, they found a way to incorporate the Confucian symbolism and values into Buddhist art. Such a reconciliation led them to make a more substantial basis of sinicization in Tang(唐) Buddhist arts.
It seems that the Buddhist art in this period was not heavily influenced by Indian models. Even if they borrowed the basic iconography, they could not be free from their own artistic tradition. This tradition can be traced back to the Han period, whose art formed the classical form and style in Chinese art. Some of the art motifs, such as dragon (龍), pushou (鋪首), lienli trees (連理木), in Han came into use in the Buddhist art in the Southern and Northern Dynasties.
First of all, Chinese artisans used the dragon motifs instead of n?ga. As many Buddhist monks translated the Sanskrit word for n?ga into dragon in Chinese, they could easily borrow and use the dragon images from their traditional representation. The Chinese people in this period seems to imagine the reality of the Buddha from the dragon. At first, they used the dragon motif in the upper part of the niche. Afterward they added more Buddhist implications to the dragon motif. Some of the dragons were represented with lotus buds or flowers growing from their mouth. Moreover, men come out from the lotus out of the dragon in Lienhuadong (蓮華洞), in Longmen (龍門) Caves. It reminds us of the famous images of "Reborn in the western paradise from lotus (蓮華化生)".
Another art motif borrowed from the Han tradition is pushou. Pushou was widely represented in ancient Chinese art for the purpose of chasing off all the evils. The Buddhist artisans thought the pushou would be helpful to protect the Buddhist world and it could prevent all the evil intruders. One can find the pushou images everywhere at Guyangdong (古陽洞) in Longmen.
The Buddhists in the Eastern Wei (東魏) and the Northern Qi (北齊) also owed the ancient Confucianists for the symbolic motifs in their Buddhist arts. As the lienli tree motifs symbolized the Confucianists' loyalty to their emperors, the lienli tree halo behind the Siwei image (思惟像) in the Freer Gallery had the same meaning. At first the lienli tree halos were used for the Siwei images around the Hebei (河北) province. Then this motif were used more widely in other bodhisattva and Buddha images. One can explain it was a kind of the Buddhists 'effort to show their loyalty, one of the most important values in Confucianism, to their emperors during the period of disorder.
When the Buddhists used the traditional art motifs transmitted from Han China, they found a way to incorporate the Confucian symbolism and values into Buddhist art. Such a reconciliation led them to make a more substantial basis of sinicization in Tang(唐) Buddhist arts.
목차
Ⅰ. 序言
Ⅱ. 漢代 미술 전통의 차용: 석굴사원의 감실 구조물에 표현된 전통 모티프
Ⅲ. 불상에 나타나는 漢族 모티프
Ⅳ. 結語
ABSTRACT
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