일본 소재 한국 문화재의 연구 현황과 성과

최응천,Choi, Eung-chon 국립문화재연구소 2014 헤리티지:역사와 과학 Vol.47 No.3

After independence, more introductory books on Korean culture were published in both Korea and Japan, along with various papers briefly presenting relevant materials. There are differences depending on the research field, however, a considerable number of articles about Buddhist paintings were published. Research on Korean sculpture was quite active among Japanese scholars. And numerous articles and publications on Korean painting were also presented in both Korea and Japan. Publications on Korean ceramics were increased as much as in other fields. From the late 1980's through late 1990's, research on Korean cultural properties continued to increase, as many young scholars began to conduct research very actively in Korea, producing many articles to introduce new materials. A small number of Japanese scholars also continued to research Korean cultural properties. The overall number of Korean researchers also increased, as existing scholars were joined by students who went to Japan to study and conduct research, thereby helping to significantly expand the area and topics of research. In this period, the exchange exhibitions between Korea and Japan were increased. Also the substantial research reports was began to be published by the national institution. From the early 2000 thrugh present, in all fields, research has progressed and improved since the late 1990's, with many individuals pursuing a microscopic approach to their artifacts and works. More graduate students have been focusing on Korean cultural properties in Japan as the subject of their master's or doctorial thesis in art history, and overall number of researchers in various areas has increased. In the field of Buddhist painting, painting, and Buddhist crafts some important books and articles have been published. However, research achievements have been somewhat uneven. In the area of ceramics, several significant examples of substantial research reports were published by the National Research Institute of Cultural Heritage. These publications are outstanding references that illustrate the future direction of research on Korean cultural properties in Japan.

기록문화재(記錄文化財)를 통(通)한 조선시대미술(朝鮮時代美術)의 도상해석학적(圖像解釋學的) 연구(硏究) 특집(特輯) : 조선 후반기 제1기(광해군-경종대) 불교공예의 명문과 양식적 특성 연구

최응천 ( Eung Chon Choi ) 한국불교미술사학회 2012 강좌미술사 Vol.38 No.-

After Japanese Invasion and Manchu Invasion, Buddhist crafts were greatly increased based on Buddhist bell from the beginning of the 17th century. In case of Buddhist bell, monk craftsman led the creation of Buddhist bell in early 17th century, private craftsman who formed regional lineage made a various Buddhist bell after the middle 17th century. Buddhist Gongs of the 17th century shows the transitional process to Joseon metal drum and completion of typical style. In case of Sarira reliquaries, a small number of examples has been found. Because stone work of the building did not have much. Incense burners(Hwang-wan) of the 17th century were degraded in forms and patterns. After completing masterpiece of Tongdosa hwang-wan made in 1694, the form of silver inlaid hwang-wan was disappeared. The cloud-shaped plate of Leeum(Samsung museum of art) is the only example of the 17th century, but this work shows the newly established traditional form. The wooden works are the important art works in this period like wooden mirror of Cheonggoksa temple made in 1693 and wooden sutra case of Daedunsa temple made in 1630. Especially Four Guardian Kings painting drawn yellow color inside door of wooden sutra case of Daedunsa temple is the only drawing Buddhist painting material. Also the Buddhist tablet with inscription Manli 34th(1606) has important value in research of Buddhist wooden works of 17th century.

조선 후반기 제2,3기 불교공예의 명문과 양식적 특징

최응천 ( Eung Chon Choi ) 한국불교미술사학회 2013 강좌미술사 Vol.40 No.-

Coming to 18th century, the activities of the monks craftsmanship had decreased. However, private craftsmen began to be subdivided into the region to participate in producing Buddhist bell. The private craftsmen who passed lead to a society of craftsmen of the 18th and 19th centuries, compared to the former period, they were active in many areas. Also some of them are regional bias was severe like personal business. The Buddhist gongs of 18th∼19th century remain the most. But casting technology became coarse and pattern had been simplified, many Sanskrit characters were reduced to one character, ``om``. In addition craftsmen of these periods made metal drum as well as Buddhist bell. So it is necessary to be focused on sharing of technology and succession of patterns. The Buddhist cloud-shaped plate of Yongmunsa(龍門寺) temple in Namhae is the typical form of 18th century fixed as flame-shaped halo. Coming to 19th century, flame-shaped halo had been changed as wound-shaped cloud through that of Heungguksa temple. The silver inlaid on iron with inscription Buseoksa(浮石寺) temple and ding-shaped incense burner of Jikjisa(直指寺) temple show the new trend of these period. Lee Hong Seong(李弘成) who made incense burner of Buseoksa temple was the inlaid craftsman who heightened the inlaid technique on iron works. The production of offering and ritual utensils had been decreased except for Buddhist sound utensil. But wooden Buddhist works had been made such as palanquin, table, and sotong including Buddhist tablet.

수다사지(水多寺址) 출토(出土) 고려시대 금속공예품의 성격과 명문

최응천 ( Choi Eung-chon ) 한국불교미술사학회 2016 강좌미술사 Vol.47 No.-

The Buddhist metal crafts with inscriptions founded at Sudasa temple site were the important materials confirmed the location of Sudasa as well as study of history of Sudasa temple and metal crafts of Goryeo period. The large Buddhist gong up to 70 cm in diameter excavated at Sudasa temple site that is narrow back side. It is presumed to have been produced was been produced in late 12th century through comparison with the year-recorded the Buddhist gong. The candle stick remains only bobeche, but it has the important meaning in that it is engraved with the production year of 1188 and the enshrinement place for auditorium. The inscriptions engraved on newly excavated patra(bowl) provide the new term `Bulgeongi`(the vessel for Buddha) and the Buddhist projects of 1199. The Buddhist disciple `An Seo` engraved on the bobeche and the patra is presumed to have played an important role in the Buddhist projects of Sudasa temple. It is meaningful to be able to reveal the aspect of Sudasa temple which has been continuing until the Goryeo period through these three metal crafts excavated at Sudasa temple site.

불영사(佛影寺) 소장 불연(佛輦)과 불전패(佛殿牌)에 관한 고찰

최응천 ( Choi Eung-chon ) 한국불교미술사학회 2017 강좌미술사 Vol.48 No.-

Of all the Buddhist crafts of Bulyeongsa temple the Buddhist palanquin and tablet are the important materials of 17th century that bear inscriptions related to the production. The Buddhist palanquins made in 1670 are the second oldest works in the late 17th century. There was a slight damage, but a set of two palanquins remained complete. The ink writings on the palanquin shows the production process, sponsor, and production year. In addition the delicate wooden carving and metal decorations are the important elements that make it stand out. Especially, it is the only case called Bongyeon(pheonix palanquin, 鳳輦) and it is important that the mirror adhered to this palanquin. The remaining two Buddhist tablets were made by the monk sculptors of Oesa temple and Tongdosa temple in 1678. According to inscriptions, they stayed for a while Cheoncuksa temple and Bulyeongsa temple, and they made three Buddhist tablets and three tablets to symbolizing king. This tablet were made with the name of Sesupae(歲樹牌), monk sculptors such as Cheolhyun(哲玄), Yeonghyun(靈現), and Thakjin(卓眞) participated in the production of this tablet. It is presumed that the remaining tablet is located in the center of altar for the King. Therefore, it can be seen that three Buddhist tablet and three tablet for royal family were made originally. The Buddhist tablet including tablet for royal family of Bulyeongsa temple is the oldest work that was made in 17th century.

최순우(崔淳雨) 선생의 공예 연구

최응천 ( Choi Eung Chon ) 한국불교미술사학회 2018 강좌미술사 Vol.51 No.-

Research accomplishment in the craft history field of Choi Sun-woo is introductory in nature, but it is the first time that the Korean arts fields were organized by period from Three Kingdoms Period to Joseon era. In a situation with the absence of an art book introducing Korea, he would publish introducing books about Korean crafts overseas in Japan. Early on, he focused on Korean woodwork and folk crafts, and left the books in a field that was not very noticeable to upgrade them to the representative artworks of our country beyond simple folk art crafts. Among his accomplishments related to craft history are conspicuous in ceramic history studies. It is also one of the major accomplishments that based on the survey results of the National Museum, he clarified the kiln site of the early Goryeo celadon, and revised the ceramics related terms 'Dalhangari' and 'Haetmurigup' in Korean. The short articles related to crafts, except for his papers on ceramics, are about five, and it is understood that the contents of Goryeo bells mainly recognized the importance of Korean bells early at the time. The rest of the articles related with crafts are relatively short essays published in newspapers and magazines, but the point that his aesthetic sense, excellent insight, and easy-to-understand explanations for everyone in general, introduced the excellence of Korean crafts is a hidden achievement in the field of craft history. Although it is not an academic paper, his works reveal the depth of the profession through the contents of the expert’s opinion. It is noteworthy that the arts of various fields, which were not pursued by other scholars of art history, have been interested from ancient times to the Joseon period. It was because of his insight and innate aesthetics that he spent his entire life at the National Museum, so that he could express his deep affection for Korean cultural assets. Away from Korean art, which was depicted by perspectives of foreigners, through our concrete and clear vision, he devoted his life to deriving the qualities and beauty of Korean crafts. The exhibition of “Five Thousand Years of Korean Arts”, which was planned and organized by him when he worked at the National Museum to inform the beauty of Korea to Japan, the United States, and Europe, is an excellent opportunity to show the world that Korea was a cultural nation with a 5000 year old culture. He was the greatest cultural diplomat who informed the world of Korean cultural assets in the very center of this exhibition.

일본속의 한국불교미술 일본에 있는 한국범종 - 특히 구주지방의 범종을 중심으로 -

최응천(Eung Chon Choi) 한국불교미술사학회 1992 강좌미술사 Vol.4 No.-

N/A

영 , 정조시대의 금속공예

최응천(Eung Chon Choi) 한국불교미술사학회 2000 강좌미술사 Vol.15 No.-

N/A

선림원지 범종의 복원과 의의

최응천 ( Eung Chon Choi ) 한국불교미술사학회 2002 강좌미술사 Vol.18 No.-

I have examined in this paper the characteristic features of the Buddhist bells of different periods of the Unified Silla by studying the changes of the styles of the music playing Apsarases on the Unified Silla bells with inscriptions, which had also undergone changes in their dragon-shaped hooks, sound pipes, upper and lower bands of ornaments and styles of the ornamental designs of striking points. Four Apsarases, two each on the front and the rear, were made on the bells from the early part of the Unified Silla. Of the four instruments of harp-like gonghu, saenghwang and hoengjeok pipes and yogo drum the Apsarases played, more hoengjeod pipe and yogo drum were played by them than the other two. On the Divine Bell of King Seongdeok, however, two Apsarases, each on the front and the rear, were made and they were not playing music but holding up an incense burner each. Apsarases as offerers of offerings on this bell are understood to have been made because the bell was founded by the royal court--and the government--to pray for the repose of the late king`s soul. One of the characteristics of the Apsarases on the bells cast in the middle of the Unified Silla is that two Apsarases, each on the front and the rear of the bell, are made, rather that four, and the musical instruments are the yogo drum and the hoengjeok flute. It has not been determined exactly when the change from four to two Apsarases took place, but it is noteworthy that it occurred in the short period between the founding of the bell from the Seollimwon site in 803 and casting of the bell of Silsangsa Temple and founding of the bell of Jogujinza (Shinto shrine) in Japan with the inscription of 833. The bell from the Seollimwon site, therefore, is an important dating material which serves as a bridge between the Korean Buddhist bells of the second half of the 8th century and those of the 9th century. A replica of the bell from Seollimwon site, which was destroyed during the Korean War (1950-1953) leaving its shards only, was founded on the occasion of the opening of the Chuncheon National Museum. This replica has a special meaning in that unlike other bells it was cast by traditional beeswax mould method. Korean Buddhist bells historically distinguished from Chinese and Japanese Buddhist bells by their dynamic dragon-shaped hooks and delicate designs on them led researchers to think that Korean Buddhist bells were founded by different methods from methods used to make Chinese and Japanese bells and that that different method must be casting in beeswax moulds. Considering that it has not been yet fully established how the great quantity of beeswax needed to make the bells was secured, details of how it was used and if the use of beeswax really improved the designs and other details on the bells, the founding of a replica of the bell from the Seollimwon site in traditional beeswax mould method is epochal in making of Korean Buddhist bells in that it was a departure from the simple imitation of the traditional Buddhist bells which inevitably resulted in founding of stylized, standardized, stereotyped Buddhist bells. Admittedly not a little technical improvement is evidently desired, but the replica of the bell from the Seollimwon site is valued as a faithful reproduction of traditional Korean Buddhist bells. In founding quality Buddhist bells, technical investigation and making of replicas of the quality bells of the past are as important as the founding techniques. New developments of the bell shapes and designs on bells are one of the future requirements, rather than blindly copying them. One of the problems in that most of the bells founded are replicas of either the Bell of Sangwonsa Temple or the Divine Bell of King Seongdeok. Imitation of traditional Buddhist bells should not be considered as their recreation. In the course of the research of the Korean Buddhist bells in the 17th and 18th centuries, I have found that the Korean Buddhist bells founded after

고려후기 전환기의 미술 특집 : 고려후기의 금속공예

최응천 ( Eung Chon Choi ) 한국불교미술사학회 2004 강좌미술사 Vol.22 No.-