기축년명 흥왕사 청동은입사향완의 연구 = A Study of the Silver - Inlaid Bronze Censer at Hyeng Wang temple in Gi - Chuk

다국어 초록 (Multilingual Abstract)

The scale of Hyeng Wang temple, built in Kaeseung (開城), the capital of Koryo (高麗), extended to about 2,800 kan (間, a kan is around 6 ft.2). King Mun Jong (文宗, reign: 1046-1082) was much interested in the main temple of worship, going there himself to burn incense. Also, at Dae Gag Gug Sa (大覺國師)U-Chun (義天), the fourth son of Mun Jong, established Gyeo Jang Do Gam (敎藏都監) after building Dae Jang Jun (大藏殿) where Dae Jang Kyeng (大藏殿) was placed and Sog Jang Kyeng (續藏經) was published. Therefore, the temple has very important historical meaning. Owing to the support of the royal house, it thrived from the time of Mun Jong till the removal the seat of government to Kang Wha (江華遷都, 1232). Accordingly, the censer at Hyeng Wang temple is regarded as playing a very significant role in representing the state of the technical art of metalwork in the 13th c. as well as the trend of art during the peak of Koryo. The censer at Hyeng Wang temple, of the Go Bae style (高杯形式) typical of Koryo, which shows the outstanding sense of formative arts in the shape of a vessel, used a beautiful overflowing curved line in the basis of the censers in the 12th c. like the censer at Kyem Tap temple (金塔寺, 1144) which was created earlier than any other in Go Bae style, the censer at Baeg Wol Am (白月菴, 1164) in Japan, the censer at Pyo Chung temple (表忠寺, 1177) in Mil Yang and so on. In addition, the shape inlaid with silver and the inlay technique add refined beauty to it by using a smooth and elegant fine line with a material of the waterside scene of nobles` taste. Although there are a few and limited data, the censer has meaning for art history because it played a role leading to changes after the first half of the 13th century. The sexagenary cycle of Gi-Chuk (己丑) on it may indicate a date of 1229.