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- 저자 : 심주완(Sim Joo-wan) (검색결과 1 건)
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심주완(Sim Joo-wan) 한국미술사학회 2002 美術史學硏究 Vol.- No.233·234
This article is about the lineage of Buddhist large stucco sculptures that has been popular after the Japanese Invasion of Korea in 1592, during the Chosun Dynasty. 7 sets of images were selected for the analysis: images of "three times of the Buddha (三世佛)" in temple Song-gwang (松廣寺) and in temple Gap (甲寺): images of "three bodies of Buddha (三身佛)" in temple Bup-ju (法住寺) and in temple Gui - sin (歸信寺): images of "three bodies of the Buddha" in temple Sun - woon (禪雲寺): images of two Bodhisatva in temple Gum - san (金山寺): images of three Buddhist deities in temple Mu - liang (無量寺), These images were enshrined in the central buildings (which were usually multi-stories) of those temples, which hold the most significant position in the Chosun period. Buddhist paintings were placed behind the images instead of the representations of halo, Images were placed on the main altar or behind it. Natural Gay was used to build these sculptures, and they were dried with air without applying heat. They were usually above 4 meters high, and due to their largeness, images could have enough space in their belly part for containing holy relics. The specific height of 4 meters has been considered as identical to the height of "6 - Jiang (a measure of length, 丈六, 16尺) - statue" , the statue which was regarded as the first image built after Sakya - Muni Buddha's physical body. Therefore, it would be clear that these large stuccos are parts of the long tradition of "6- jiang - statues (丈六佛像)", which can be traced back to the first making of Buddhist image in Korea. First of all, I tried to determine the dates when they were manufactured, by stylistic analysis and by examining related written sources. As stylistic characters, these stuccos commonly have large size, stiff and cubic modeling, and simple and straight outlines. With support from written records, it can be suggested that these characters show aspects after the Japanese Invasion of Korea in 1592 in producing Buddhist sculptures. In other words, these stuccos were made at the time when new styles in image making emerged and started to prevail after the Japanese Invasion of Korea in 1592. However, as early examples of this new phase, they still had some features of the past, which are easily found in the 16th century's "6 - jiang - statue" in temple Kirim (祈林寺). Triggered by the Manchurian invasion into the Chosun Dynasty in 1627 after the Japanese Invasion of Korea in 1592, the first half of the 17th century became a turning point in the political circumstances among China, Korea and Japan. This major change also caused various innovations in artistic production. Korean Buddhism, which had been oppressed from the time of the dynasty's foundation, finally gained governmental favor due to the positive role of the monk's force in fighting against Japanese invasion, as well as the spiritual consolation that Buddhism could provide to survivors of the war. Therefore, nation- wide restoration of Buddhist temples took place under tacit approval of the government, and a series of "6 - jiang" stuccos were produced along with this restoration. Second, I tried to show that the majority of Buddhist stuccos after Japanese Invasion of Korea in 1592 represent the "three bodies" and "three times" of Buddha. The formation of "three times of Buddha" was adopted as a special concept, whose members are Sakya (center), Bhaisajyaguru (left), and Amitabha (right). The example of "three generation" in temple Gap is the oldest as a formation consisting of 7 Buddhist deities, and the example of "three generation" in temple Song-gwang is the oldest in this sort. The example in temple Bup - joo is the largest in size among the examples of "three bodies" , which consist of Buddha's images only. In this article, I explained that the formation of "three bodies and three times of the Buddha" is a fusion of "three bodies of the Buddha" and "three generation of the Buddha", fusion that was motivated by t
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