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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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초록· 키워드
오류제보하기
The dry lacquer seated Medicine Buddha (Bhaisajyaguru) statue at Cheongnyangsa Temple in Bonghwa is relatively large, measuring 90cm in height and 72.5cm in width from knee to knee. It was recently designated a “treasure” by the Korean government after being identified as the country"s oldest dry lacquer Buddha statue.
The dry lacquer technique uses multiple layers of hemp cloth soaked in lacquer. In Korea, it is known as chilpo (柒布; “lacquer hemp”). Some 20 dry lacquer Buddha statues survive in Korea today, dating from the Goryeo to the Joseon period. The dry lacquer seated Medicine Buddha at Cheongnyangsa was made using a technique that shows several differences to that commonly employed in the late Goryeo and early Joseon periods: Its front and rear panel were sewn together using stitched thread, onto which layers of hemp cloth and black adhesive were applied. A similar two-plate method was also used to make the statue of Master Huirang at Haeinsa Temple in Hapcheon, which dates from around the mid-10th century in the Goryeo period, but this latter work differs from the Cheongnyangsa statue in that only its front panel is made using the dry lacquer technique, while its rear panel is made of wood.
The dry lacquer Medicine Buddha at Cheongnyangsa is a faithful reproduction of the main Buddha at Seokguram Grotto in terms of iconography, form and style. Seen in stylistic terms alone, then, it can be considered to date from the Unified Silla period. This notion is reinforced by the results of radiocarbon dating performed on the hemp cloth and base of the statue, which indicated a period of 770~870AD within confidence margins. The dry lacquer seated Medicine Buddha at Cheongnyangsa therefore dates from the Unified Silla period and was produced no later than the ninth century, making it Korea"s oldest dry lacquer Buddha statue.
The Medicine Buddha at Cheongnyangsa is found at Bonghwa, which was part of Gochang County in the Andong Protectorate, but reflects the “central style” found primarily in and around the Silla capital, Gyeongju. This is thought to result from the spread of the central style to the provinces as the Seobungmyeon region of Silla acquired greater importance due to the royal court"s provincial reinforcement policies from the late 8th century, and the appearance and northward movement of hojok (local gentry). It is also important to note that Andong at this time was a major transport hub, lying on the Nakdong River, a water route connected to Daegu and Gyeongju, and on the overland route to Gangwon Province via the Taebaek mountain range. Moreover, the geographic characteristics of Andong, famous for its Buddhist faith and its ramie and hemp cloth, are thought to have allowed the early production of dry lacquer Buddha statues.
The seated Medicine Buddha at Cheongnyangsa is the first dry lacquer Buddha statue to have been produced in Korea. As such, it is an important work that changed the course of Buddhist sculptural history. The statue also shows a prime example of a major achievement resulting from a combination of scientific investigation and stylistic observation in the process of officially designating items of cultural heritage.
The dry lacquer technique uses multiple layers of hemp cloth soaked in lacquer. In Korea, it is known as chilpo (柒布; “lacquer hemp”). Some 20 dry lacquer Buddha statues survive in Korea today, dating from the Goryeo to the Joseon period. The dry lacquer seated Medicine Buddha at Cheongnyangsa was made using a technique that shows several differences to that commonly employed in the late Goryeo and early Joseon periods: Its front and rear panel were sewn together using stitched thread, onto which layers of hemp cloth and black adhesive were applied. A similar two-plate method was also used to make the statue of Master Huirang at Haeinsa Temple in Hapcheon, which dates from around the mid-10th century in the Goryeo period, but this latter work differs from the Cheongnyangsa statue in that only its front panel is made using the dry lacquer technique, while its rear panel is made of wood.
The dry lacquer Medicine Buddha at Cheongnyangsa is a faithful reproduction of the main Buddha at Seokguram Grotto in terms of iconography, form and style. Seen in stylistic terms alone, then, it can be considered to date from the Unified Silla period. This notion is reinforced by the results of radiocarbon dating performed on the hemp cloth and base of the statue, which indicated a period of 770~870AD within confidence margins. The dry lacquer seated Medicine Buddha at Cheongnyangsa therefore dates from the Unified Silla period and was produced no later than the ninth century, making it Korea"s oldest dry lacquer Buddha statue.
The Medicine Buddha at Cheongnyangsa is found at Bonghwa, which was part of Gochang County in the Andong Protectorate, but reflects the “central style” found primarily in and around the Silla capital, Gyeongju. This is thought to result from the spread of the central style to the provinces as the Seobungmyeon region of Silla acquired greater importance due to the royal court"s provincial reinforcement policies from the late 8th century, and the appearance and northward movement of hojok (local gentry). It is also important to note that Andong at this time was a major transport hub, lying on the Nakdong River, a water route connected to Daegu and Gyeongju, and on the overland route to Gangwon Province via the Taebaek mountain range. Moreover, the geographic characteristics of Andong, famous for its Buddhist faith and its ramie and hemp cloth, are thought to have allowed the early production of dry lacquer Buddha statues.
The seated Medicine Buddha at Cheongnyangsa is the first dry lacquer Buddha statue to have been produced in Korea. As such, it is an important work that changed the course of Buddhist sculptural history. The statue also shows a prime example of a major achievement resulting from a combination of scientific investigation and stylistic observation in the process of officially designating items of cultural heritage.
목차
Ⅰ. 머리말
Ⅱ. 청량사 건칠약사여래좌상의 현상 및 특징
Ⅲ. 복장물과 중수시기
Ⅳ. 제작기법
Ⅴ. 제작시기 검토와 조성 배경
Ⅵ. 맺음말
참고문헌
〈Abstract〉
참고문헌 (18)
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UCI(KEPA) : I410-ECN-0101-2018-609-000931957