修德寺 大雄殿의 14세기 木造臺座 = Wooden Seated Buddha Statue of Main Building at Sudeoksa Temple (修德寺) in 14th Century

다국어 초록 (Multilingual Abstract)

Main Building of Sudeoksa Temple was rebuilt and known as one of key materials for the study of Art History in Goryeo dynasty, There are a few materials inclusive wall paintings of other places in that period The main building kept three Buddha statures that many votive offerings (腹藏物) including prayer's writing of 12th year Sungjeong (A,D, 1639, 17th year of King Injo) were uncovered during regilding event (改金佛事). The wooden seated stature was located under the Buddha statures.
The wooden seated statues were moved from the original place, Pungguksa temple (豊國寺) in Manhaengsan mountain (萬行山) located in Namwongun (南原郡) district, Jeollanam-do province, and consisted of four folded Lotus throne (連華座) and three leveled hexagon typed sumeru altar (須彌壇).
Many lotus leaves were separately connected to fix to the round typed main body The main body of Lotus throne composing upper level was connected through several wood sticks, The bottom part of lotus leaves had three nail holes to be fixed to the main body, It seemed to show real shape of lotus leaves in full bloom slowly, Wood was trimmed into each leaf, and each leaf was painted in color. TI1e coloring was taken in order, such as white pigment as a whole, then black paint treatment and lastly fine golden lane treatment along the shape of lotus leaf to give glorious decorative mood, Above that coloring, two typed patterns were pasted separately one type in the form of a honeysuckle shaped a bracken outward of co -centered circles of Bower decoration to show main pattern to decorate in the middle of lotus leaf and me other type in me form of scrolling floral vine shown along the outer lane of leaf.
These flower pattern (花紋) showed no clear collar, but seemed to be dark blue collar by considering discolored degree, White colored pigment such as white colored rye powder (胡粉) or white colored soil was pasted to me whole, then black color was painted. After that, fine and decorative golden lane was drawn in a narrow space, and golden color was painted to the decorative pattern attached separately to show glorious mood as a whole, As material of this pattern showed dark black color containing fine grain, it seemed that me material like sawdust was mixed in dark dyes.
Under the Lotus throne composed of lotus leaves, hexagon typed sumeru altar was positioned high. The whole alter consists of three part, and gets narrower as going up. The upper part surrounding Lotus throne shows railings around the comer, In me upper part, scrolling floral vine and offering flower decorative flower bottle full of tree peony are carved, and a folded shaped curtain is flown down to decorate beautiful view. In d1e middle part, vajra is decorated in a big size, In the lower part, me bottom side of decorative pedestal is rounded down and treated flat to shape animals' feature.
The pedestal of main building of Sudeoksa temple shows painting symbol (花紋) describing lotus thrown, symbol and decorative sumeru altar. that is very peculiar examples. 111e pedestal demonstrates delicate pattern and excellent expressive techniques. Especially. pattern of lotus throne shows embossed carving techniques mild color and beautiful building compliant with surrounding golden lane.
Comparing to the current Buddhist sculpture and painting, lotus thrown shows characteristics such as lotus thrown projecting from the sumeru altar to appeal glorious lotus leaves and pattem to the viewer. the lotus thrown of me pedestal is located at the rear part of sumeru altar not to be seen from outside. which is a big difference from Buddhist painting of late Goryeo dynasty. It means that the whole thing was not made all together.
The wooden seated sculpture is compared to me Buddhist sculptures or paintings, and painting symbol is similar to that of lotus thrown of Arnica triad painting belonging to Beobeunsa (法恩寺) temple of A.D. 1330. Compared to the Chinese thing. painting symbol (花紋) described in lotus leaves

목차 (Table of Contents)

• 修德寺 大雄殿과 木造臺座
• 木造臺座의 特微과 始原
• 맺음말: 造成年代와 美術史的 意義
• ABSTRACT