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This paper investigates the Palhae Buddhist Sculpture with a special emphasis on the comparative study of the Palhae sculpture with contemporary Chinese and Japanese sculpture. It is generally presumed that Palhae sculpture succeeded the tradition of Goguryeo sculpture, which was strongly influenced by Northern Wei and Eastern Wei sculpture. A few 'Two Seated Buddha' images(二佛竝坐像) of Sakyamuni and Prabhuta-ratna were discovered at the East Capital(東京城) site from me Palhae period, which means me popular worship of Lotus Sutra at mat time can be closely compared to Two Seated Buddhas images from me Hopei area of northern China where Two Buddha images based on me Lotus Sutra were made up until me Tang period.
Still, Palhae images have their own unique characteristics; they show warm humanistic intimacy of me past and present Buddhas through depictions of overlapping bodies and one's hand laid upon the other's hand. The wearing Kasaya by the Two Buddha image now in the Tokyo National Museum exhibits traditional Goguryeo costume shown ill a wall-painting of me five-century tombs. Their drapery folds covering pedestals show a similarity to that of Japanese bronze images of me Asuka period, which demonstrates me impact of Goguryeo sculpture on Asuka Buddhist sculpture, as well as the identity of Palhae sculpture as a continuation of Goguryeo Buddhist art.
Buddhist images from the Upper Capital (上京城) of Palhae, mostly clay images, show me later period of Palhae Buddhist art closely compared to late Tang Buddhist sculpture. Small clay standing Bodhisattva images in me Seoul National University Museum and me Tokyo University Museum, were most likely made from the same mold and utilized the same style and iconography. They show close stylistic connections with mid and late Tang Buddhist images, as well as Japanese Bodhisattva images of the Heian period in the ninth century with their plump faces and short, fleshy voluptuous bodies. A clay seated Amitabha image in the Seoul National Museum and a gilt-bronze standing six-armed Bodhisattva image in the Palhaejin(渤海鎭) Institute of Cultural Properties exhibit iconography of esoteric Buddhism, which was popular in China from the mid-Tang period.
Still, Palhae images have their own unique characteristics; they show warm humanistic intimacy of me past and present Buddhas through depictions of overlapping bodies and one's hand laid upon the other's hand. The wearing Kasaya by the Two Buddha image now in the Tokyo National Museum exhibits traditional Goguryeo costume shown ill a wall-painting of me five-century tombs. Their drapery folds covering pedestals show a similarity to that of Japanese bronze images of me Asuka period, which demonstrates me impact of Goguryeo sculpture on Asuka Buddhist sculpture, as well as the identity of Palhae sculpture as a continuation of Goguryeo Buddhist art.
Buddhist images from the Upper Capital (上京城) of Palhae, mostly clay images, show me later period of Palhae Buddhist art closely compared to late Tang Buddhist sculpture. Small clay standing Bodhisattva images in me Seoul National University Museum and me Tokyo University Museum, were most likely made from the same mold and utilized the same style and iconography. They show close stylistic connections with mid and late Tang Buddhist images, as well as Japanese Bodhisattva images of the Heian period in the ninth century with their plump faces and short, fleshy voluptuous bodies. A clay seated Amitabha image in the Seoul National Museum and a gilt-bronze standing six-armed Bodhisattva image in the Palhaejin(渤海鎭) Institute of Cultural Properties exhibit iconography of esoteric Buddhism, which was popular in China from the mid-Tang period.
목차
Ⅰ. 머리말
Ⅱ. 渤海前期 佛敎彫刻의 性格에 대한 檢討
Ⅲ. 渤海 前期彫刻을 통해본 高句麗 佛敎彫刻의 諸 요소
Ⅳ. 渤海後期 불교조각의 특징과 唐, 平安前期 조각과의 관계
Ⅴ. 맺는말
〈Abstract〉
『渤海 의 佛敎』토론문
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