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국립중앙박물관 소장 유리건판과 기록자료로 본 황해도 성불사(成佛寺)의 불교조각
허형욱 ( Heo Hyeonguk ) 국립중앙박물관 2024 박물관과 연구 Vol.1 No.0
Gelatin dry plate photographs dating to the Japanese colonial era and the official documents from the Japanese Government-General of Korea Museum in the collection of the National Museum of Korea are significant materials documenting cultural heritage in North Korea before it was severely damaged in 1950 during the Korean War. There has been an increase in recent years in studies of Buddhist sculptures in North Korea based on these photographs and documents. This paper presents some new comments on the Buddhist sculptures at Seongbulsa Temple in Hwangju, one of the most famous temples in Hwanghae-do Province, based on the related existing research outcomes. This paper aims to facilitate a more comprehensive understanding of the Buddhist sculptures at Seongbulsa Temple by chronicling its history based on historical records, examining its current status, and exploring in detail the production dates and backgrounds of the Buddhist sculptures featured on gelatin dry plates. Prior to Korea’s liberation from Japan in 1945, Seongbulsa housed at least seven sculptural items: two Bodhisattva statues, four Buddha statues, and a triad. Two items are from the early Goryeo period, one is from the late Goryeo period, three are from the early Joseon period, and one is from the late Joseon period. Among them, two surviving items are noteworthy. One is the early Goryeo-era Stone Seated Bhaishajyaguru Buddha photographed in Eungjinjeon Hall at Seongbulsa Temple. A close examination of a schematic drawing of the sculpture’s pedestal made at the time it was photographed reveals that its material accords with the materials used for the headless Stone Seated Bhaishajyaguru Buddha and pedestal currently found in the old Sangwonam Hermitage site in the Inner Geumgang Valley of Jeongbangsan Mountain. This accordance could mean that the statue is a new significant example of early Goryeo Buddhist sculpture in North Korea. The other notable sculpture is the Gilt-bronze Seated Amitabha Buddha Triad created in 1454 (the second year of the reign of King Danjong) and discovered in Geungnakjeon Hall at Seongbulsa. This statue is currently in the collection of the Sariwon History Museum in Hwanghae-do Province. It is an important example of a dated small gilt-bronze Buddhist statue from the early Joseon period found in North Korea. This paper is a case study of Buddhist sculptures in North Korea, focusing on Seongbulsa Temple. Further utilization of the National Museum of Korea’s gelatin dry plates will contribute to developing the study of the history of Korean Buddhist sculpture.
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국립중앙박물관 유리건판 사진에 보이는 북한 소재 불교조각의 고찰
許亨旭(Huh(Heo) Hyeonguk) 미술사연구회 2021 미술사연구 Vol.- No.40
The National Museum of Korea holds more than 38,170 photographs developed from gelatin dry plates. These photographs depicting archaeological, art, and architectural artifacts and ruins in Korea were produced by the Japanese Government-General of Korea as part of its colonial efforts. As long as this objective of these photographs is understood and they are used critically, they can be helpful in studying Buddhist sculptures that still are or once were in North Korea and are currently inaccessible due to the division of the peninsula. It is also necessary to examine official documents issued by the Japanese Government-General of Korea since the documents paired with the photographs to offer further information on these Buddhist sculptures. Most Buddhist sculptures captured in the gelatin dry plate photographs are works produced during the Goryeo or Joseon Dynasty. This paper classifies the value of the use of these gelatin dry plate photographs into three advantages that are then examined: 1. The photographs offer basic information about the sculptures, including their excavation sites; 2. They enable in-depth and extensive studies of Buddhist iconography; and 3. They show changes in sculptural styles and help with dating the sculptures. A vast body of Buddhist artworks in North Korea were lost or damaged during the Korean War. Since these gelatin dry plate photographs were produced before the war, they allow the further verification of facts about the Buddhist sculptures and facilitate a better understanding of their original forms. An analysis of the gelatin dry plate photographs has revealed that iconographically identical types of Buddhist sculptures were produced throughout North and South Korea during the Goryeo period. It also indicates the distribution routes and genealogy of the sculptures. Moreover, the photographs allow us to explore the religious backgrounds of the production of sculptures, thus extending the scope of studies of Korean Buddhist sculpture. Some of the gelatin dry plate photographs illustrate Buddhist sculptures that further the understanding of changes in sculptural styles and dating of sculptures. As a case in point, Stone Standing Buddha from the site of Mireuksa Temple, which was established around 936 in Kaesong, aptly demonstrates the regional diversity of large and medium-sized tenth-century stone Buddhist sculptures from the early Goryeo period. In a similar vein, Seated Bodhisattva in Bogwangjeon Hall at Singwangsa Temple in Haeju, Hwanghae-do Province attests to the adoption of styles from Yuan Dynasty Buddhist sculptures from the fourteenth century in the late Goryeo period. Furthermore, Gilt-bronze Seated Avalokitesvara created in 1426 at Sindeoksa Temple in Yonggang-gun, Pyeongannam-do Province and Gilt-bronze Seated Amitabha Triad produced in 1454 and excavated from Seongbulsa Temple reflect the process of early Joseon Buddhist sculpture’s transformation into a more uniquely indigenous style. The gelatin dry plate photographs in the National Museum of Korea are significant materials for the study of the history of Buddhist sculpture in North Korean regions that are currently inaccessible. Future examination of these photographs will lead to additional meaningful findings.
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효율적인 카테고리 분류기법에 의한 연관 도메인 추천 서비스
허형욱 ( Hyung Wook Heo ),이은주 ( Eun Ju Lee ),김응모 ( Ung-mo Kim ) 한국정보처리학회 2008 한국정보처리학회 학술대회논문집 Vol.15 No.2
인터넷 사용자 증가에 따라 검색 엔진의 사용 또한 급격히 늘어나고 있는 추세이다. 국내외 다양한 검색 엔진들이 존재하지만 대부분의 자료들이 기본적인 카테고리별로 링크 횟수나 키워드 빈발 횟수에 따라 정렬이 되어 있다. 그러므로 사용자들은 수동적으로 정렬된 도메인들을 따라 가는 실정이다. 본 논문에서는 수동적인 서비스가 아닌 능동적인 서비스에 중점을 둔다. 특정 카테고리 내에서 접속한 사용자에게 최근 시점을 기준으로 가장 빈번하게 접속된 도메인 정보를 제공하여 시간의 단축과 유용한 서비스를 받도록 한다. 본 논문의 서비스 모델은 인터넷 사용자의 로그 데이터베이스와 도메인 데이터베이스를 기반으로 한다. 본 논문에서 제안하는 카테고리 분류 기법으로 두 데이터베이스를 통합하고 정제한다. 정제된 데이터들은 최종적으로 순차 패턴 마이닝 기법에 의해 최종 빈발 패턴을 추출 하게 되고 특정 카테고리에 접속한 사용자에게 도메인 형태로 변환 되어 서비스 하게 된다.
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국립중앙박물관 소장 유리건판과 기록자료로 본 황해도 성불사(成佛寺)의 불교조각
허형욱 국립중앙박물관 2024 박물관과 연구 Vol.1 No.-
국립중앙박물관이 소장한 일제강점기의 유리건판 사진과 조선총독부박물관 공문서는 1950년 한국전쟁으로 북한 지역 소재 문화유산이 큰 피해를 입기 전의 모습을 알려주는 자료로서 가치가 있다. 이에 최근 유리건판과 총독부박물관 문서를 활용한 북한 지역 불교조각 연구가 증가하고 있으며, 본고에서는 황해도의 대표적 사찰 중 하나인 황주 성불사의 불교조각에 대해 기존 성과를 바탕으로 몇 가지 새로운 의견을 개진하였다. 이를 위해 먼저 문헌기록을 토대로 성불사의 연혁을 정리하고 현황을 짚어본 후, 유리건판 속 존상별 제작시기와 조성배경 등을 자세히 살펴봄으로써 성불사 불교조각을 종합적으로 이해하고자 했다. 1945년 해방 이전 성불사의 불교조각은 보살상 2건, 여래상 4건, 삼존상 1건의 총 7건이 확인된다. 제작시기에서는 고려 전기 2건, 고려 후기 1건, 조선 전기 3건, 조선 후기 1건의 분포를 보인다. 이 가운데 오늘날 실물이 남아있는 2건이 주목된다. 먼저 성불사 응진전에서 촬영되었다는 고려 전기 석조약사여래좌상이다. 이 상의 당시 대좌 실측도를 면밀히 검토한 결과, 현재 정방산 내금강 골짜기의 옛 상원암 터에 전하는 머리없는 석조약사여래좌상 및 대좌 부재와 일치함을 알 수 있었다. 이 판단이 맞다면 북한 지역에 전하는 고려 전기 불교조각의 작례를 새롭게 확보하는 것으로서 의의가 크다. 다른 하나는 성불사 극락전에서 발견된 조선 1454년(단종2) 작 금동아미타여래삼존좌상이다. 이 상은 현재 사리원력사박물관에 보관 중이며 조선 전기 이북 지역에서 확인되는 소형 금동불의 기년작으로서 중요하다. 본고는 성불사라는 단일 사찰에 초점을 맞추어 북한 지역 불교조각을 고찰한 사례 연구이다. 앞으로 국립중앙박물관 유리건판 자료가 더욱 다양한 방식으로 활용된다면 우리나라 불교조각사의 연구에 적지 않은 기여를 할 것으로 기대된다. Gelatin dry plate photographs dating to the Japanese colonial era and the official documents from the Japanese Government-General of Korea Museum in the collection of the National Museum of Korea are significant materials documenting cultural heritage in North Korea before it was severely damaged in 1950 during the Korean War. There has been an increase in recent years in studies of Buddhist sculptures in North Korea based on these photographs and documents. This paper presents some new comments on the Buddhist sculptures at Seongbulsa Temple in Hwangju, one of the most famous temples in Hwanghae-do Province, based on the related existing research outcomes. This paper aims to facilitate a more comprehensive understanding of the Buddhist sculptures at Seongbulsa Temple by chronicling its history based on historical records, examining its current status, and exploring in detail the production dates and backgrounds of the Buddhist sculptures featured on gelatin dry plates. Prior to Korea’s liberation from Japan in 1945, Seongbulsa housed at least seven sculptural items: two Bodhisattva statues, four Buddha statues, and a triad. Two items are from the early Goryeo period, one is from the late Goryeo period, three are from the early Joseon period, and one is from the late Joseon period. Among them, two surviving items are noteworthy. One is the early Goryeo-era Stone Seated Bhaishajyaguru Buddha photographed in Eungjinjeon Hall at Seongbulsa Temple. A close examination of a schematic drawing of the sculpture’s pedestal made at the time it was photographed reveals that its material accords with the materials used for the headless Stone Seated Bhaishajyaguru Buddha and pedestal currently found in the old Sangwonam Hermitage site in the Inner Geumgang Valley of Jeongbangsan Mountain. This accordance could mean that the statue is a new significant example of early Goryeo Buddhist sculpture in North Korea. The other notable sculpture is the Gilt-bronze Seated Amitabha Buddha Triad created in 1454 (the second year of the reign of King Danjong) and discovered in Geungnakjeon Hall at Seongbulsa. This statue is currently in the collection of the Sariwon History Museum in Hwanghae-do Province. It is an important example of a dated small gilt-bronze Buddhist statue from the early Joseon period found in North Korea. This paper is a case study of Buddhist sculptures in North Korea, focusing on Seongbulsa Temple. Further utilization of the National Museum of Korea’s gelatin dry plates will contribute to developing the study of the history of Korean Buddhist sculpture.
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