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.
초록· 키워드
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The standing sculptures of Amitabha Buddha and Maitreya Bodhisattva from Kamsansa were constructed in 719 A.D. by a sixth ranking aristocrat, Kim Jeesung(金志誠), from the Unified Silla Dynasty. The images display strong foreign influence as well as new motifs and characteristic forms that differ from those generally found in eighth century Tang Buddhist sculptures and other Silla Buddhist sculptures. This thesis examines the appearance of these characteristics, situating its discussion in with appropriate background to the art history of the era.
The Amitabha Buddha displays an entire draped body in relief form, which is a characteristic in the sculptures of Central Asia. It is difficult to find the same style of drapery in seventh to eighth century East Asian Buddhist sculptures. After the eighth century, drapery had been simplified and Sinicized. However, the Kamsansa Amitabha Buddha preserved the drapery of Central Asia, before Sinicization. From its shoulder decoration, the extended cloth, the large knot in the scarf upon the chest(絡腋) and the U-shaped fold in the lower scarf of the Maitreya Bodhisattva from Kamsansa, the elements of style all originated from Central Asia. These motifs and forms rarely appear in Buddhist sculptures of East Asia in the period contemporary to the construction of the statue, though they were popularized in the wall painting of Dunhuang Mogao Grottoes from the latter part of the eighth century.
The Central Asian characteristics of the two images from Kamsansa are an example of how, from middle seventh to early eighth century in China, the style that originated in Central Asia prevailed. One artist who is representative of the style of the Central Asia is Yu-ch"ih I-seng(尉遲乙僧), who came from the Khotan area. Following his death and a program of Sinicization, the Yu-ch"ih Iseng School rapidly declined, so sculptures that exhibiting Central Asian style are harder to find in the period after his death. Thus, the two images from Kamsansa are important works that show the concrete features of Yu-ch"ih Iseng School in the Tang Dynasty.
The Amitabha Buddha displays an entire draped body in relief form, which is a characteristic in the sculptures of Central Asia. It is difficult to find the same style of drapery in seventh to eighth century East Asian Buddhist sculptures. After the eighth century, drapery had been simplified and Sinicized. However, the Kamsansa Amitabha Buddha preserved the drapery of Central Asia, before Sinicization. From its shoulder decoration, the extended cloth, the large knot in the scarf upon the chest(絡腋) and the U-shaped fold in the lower scarf of the Maitreya Bodhisattva from Kamsansa, the elements of style all originated from Central Asia. These motifs and forms rarely appear in Buddhist sculptures of East Asia in the period contemporary to the construction of the statue, though they were popularized in the wall painting of Dunhuang Mogao Grottoes from the latter part of the eighth century.
The Central Asian characteristics of the two images from Kamsansa are an example of how, from middle seventh to early eighth century in China, the style that originated in Central Asia prevailed. One artist who is representative of the style of the Central Asia is Yu-ch"ih I-seng(尉遲乙僧), who came from the Khotan area. Following his death and a program of Sinicization, the Yu-ch"ih Iseng School rapidly declined, so sculptures that exhibiting Central Asian style are harder to find in the period after his death. Thus, the two images from Kamsansa are important works that show the concrete features of Yu-ch"ih Iseng School in the Tang Dynasty.
목차
I. 머리말
Ⅱ. 감산사 佛·菩薩像의 조형적 특징
Ⅲ. 畵本과 彫刻의 관계
Ⅳ. 감산사 佛·菩薩像과 7~8세기 唐代畵風
Ⅴ. 감산사 佛·菩薩像의 동아시아 불교조각사상의 위치: 맺음말에 대신하여
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UCI(KEPA) : I410-ECN-0101-2015-600-002913798