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      조선 후기 應元·印均派의 활동: 應元, 印均, 三忍 = Monk Sculptors of the Eungwon-Ingyun School in the late Joseon Dynasty: Eungwon, Ingyun, and Samin

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      The Eungwon-Ingyun School played an active part in creating Buddhist sculptures at the south-east area of Jeolla province in the early-mid 17th century and was one of the most important schools in Jeolla area like Wono school, Beopryeong school, Muyeom school in the early 17th century, Unhye school, Saeknan school in the late 17th century. The Eungwon-Ingyun School consisted of the master sculptors Eungwon, Ingyun, Samin and assistant sculptors Gohan, Sasun, Seoksam, Sangui, Jagyeong. It was organized in the early 1620s under the leadership of Eungwon and Ingyun and was led by Eungwon in 1620s, Ingyun between 1630s and 1650s, and Samin after 1650s.
      They created 20 sets or 39 pieces of statues. And the statues made by them had common distinctive features. All of the statues revealed the bodies under heavy clothes, and the clothes on the pedestal were waved like flowing water.
      Ingyun, creating the almost of all statues of his school, made his distinctive style after studying the style of his predecessor or teacher, Eungwon. His works of art can be divided up into four stages of period by style. The first stage of the Ingyun style was in the early 1630s. The statues made in this period had voluminous faces and bodies, and the sides of their faces were vertical and the bottom of the chins were horizontal. The folds of the draperies were rhythmic. Especially there was a unique expression of wrinkled drapery like waves on the top of the pedestal. The second stage of the Ingyun style was in the late 1630s. The statues of this period had more voluminous chicks and broad chins in faces. The third stage was in 1640s.
      Faces of statues of this period thinner than former stage, but cheeks were broader and chubbier than former stage too. The fourth stage was in 1650s.
      The statues of this period had features such as long and thin faces, round chin, small build.
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      The Eungwon-Ingyun School played an active part in creating Buddhist sculptures at the south-east area of Jeolla province in the early-mid 17th century and was one of the most important schools in Jeolla area like Wono school, Beopryeong school, Muyeo...

      The Eungwon-Ingyun School played an active part in creating Buddhist sculptures at the south-east area of Jeolla province in the early-mid 17th century and was one of the most important schools in Jeolla area like Wono school, Beopryeong school, Muyeom school in the early 17th century, Unhye school, Saeknan school in the late 17th century. The Eungwon-Ingyun School consisted of the master sculptors Eungwon, Ingyun, Samin and assistant sculptors Gohan, Sasun, Seoksam, Sangui, Jagyeong. It was organized in the early 1620s under the leadership of Eungwon and Ingyun and was led by Eungwon in 1620s, Ingyun between 1630s and 1650s, and Samin after 1650s.
      They created 20 sets or 39 pieces of statues. And the statues made by them had common distinctive features. All of the statues revealed the bodies under heavy clothes, and the clothes on the pedestal were waved like flowing water.
      Ingyun, creating the almost of all statues of his school, made his distinctive style after studying the style of his predecessor or teacher, Eungwon. His works of art can be divided up into four stages of period by style. The first stage of the Ingyun style was in the early 1630s. The statues made in this period had voluminous faces and bodies, and the sides of their faces were vertical and the bottom of the chins were horizontal. The folds of the draperies were rhythmic. Especially there was a unique expression of wrinkled drapery like waves on the top of the pedestal. The second stage of the Ingyun style was in the late 1630s. The statues of this period had more voluminous chicks and broad chins in faces. The third stage was in 1640s.
      Faces of statues of this period thinner than former stage, but cheeks were broader and chubbier than former stage too. The fourth stage was in 1650s.
      The statues of this period had features such as long and thin faces, round chin, small build.

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      참고문헌 (Reference)

      1 심주완, "조선시대 三世佛像의 연구" 한국미술사학회 259 (259): 5-40, 2008

      2 손영문, "조각승 인균파 불상조각의 연구" 한국불교미술사학회 (26) : 53-82, 2006

      3 임영애, "순천 송광사 사천왕상의 방위문제와 조성시기. in: 송광사 사천왕상 발굴자료의 종합적 연구" 아세아문화사 127-150, 2006

      4 문명대, "선운사 대웅보전 무염(無染)작 비로자나삼불상(毘盧遮那三佛像)" 한국불교미술사학회 (30) : 353-378, 2008

      5 이용윤, "삼세불의 형식과 개념 변화" 동악미술사학회 (9) : 91-118, 2008

      6 文明大, "무염파(無染派) 목불상의 조성과 설악산 신흥사 목아미타 삼존불상의 연구" 한국불교미술사학회 (20) : 63-82, 2003

      7 陳淸香, "齋明寺舊藏卷軸佛畵-以三寶佛畵爲例" 中華佛學硏究所 16 : 325-346, 2003

      8 賀世哲, "關于敦煌莫高窟的三世佛與三佛造像" 39 : 67-88, 1994

      9 "金山寺誌"

      10 宋殷碩, "通度寺聖寶博物館 所藏金銀製阿彌陀三尊佛坐像 硏究" 3 : 105-109, 2005

      1 심주완, "조선시대 三世佛像의 연구" 한국미술사학회 259 (259): 5-40, 2008

      2 손영문, "조각승 인균파 불상조각의 연구" 한국불교미술사학회 (26) : 53-82, 2006

      3 임영애, "순천 송광사 사천왕상의 방위문제와 조성시기. in: 송광사 사천왕상 발굴자료의 종합적 연구" 아세아문화사 127-150, 2006

      4 문명대, "선운사 대웅보전 무염(無染)작 비로자나삼불상(毘盧遮那三佛像)" 한국불교미술사학회 (30) : 353-378, 2008

      5 이용윤, "삼세불의 형식과 개념 변화" 동악미술사학회 (9) : 91-118, 2008

      6 文明大, "무염파(無染派) 목불상의 조성과 설악산 신흥사 목아미타 삼존불상의 연구" 한국불교미술사학회 (20) : 63-82, 2003

      7 陳淸香, "齋明寺舊藏卷軸佛畵-以三寶佛畵爲例" 中華佛學硏究所 16 : 325-346, 2003

      8 賀世哲, "關于敦煌莫高窟的三世佛與三佛造像" 39 : 67-88, 1994

      9 "金山寺誌"

      10 宋殷碩, "通度寺聖寶博物館 所藏金銀製阿彌陀三尊佛坐像 硏究" 3 : 105-109, 2005

      11 李樹濤, "河北赤城發現鎏金銅造像窯藏" 51 : 33-38, 2000

      12 문명대, "毘盧遮那三身佛圖像의 形式과 祇林寺三身佛像 및 佛畵의 硏究" 15 : 77-99, 1998

      13 崔宣一, "朝鮮後期 彫刻僧의 활동과 佛像 硏究" 弘益大學校 2006

      14 宋殷碩, "朝鮮後期 佛菩薩像의 着衣法. in: 새로운 발견-조선 후기조각전" 호암미술관 102-109, 2001

      15 崔宣一, "朝鮮 後期 全羅道 彫刻僧 色難과 그 系譜" 14 : 35-62, 2000

      16 韓國學文獻硏究所, "曹溪山松廣寺史庫. in: 韓國寺志叢書, 第二輯" 亞細亞文化社 1977

      17 綺山錫珎, "曹溪山松廣寺史庫 下"

      18 林錫珍, "曹溪山 松廣寺誌" 松廣寺 2001

      19 정은우, "敬天寺址10層石塔과 三世佛會考" 미술사연구회 (19) : 31-58, 2005

      20 劉慧達, "北魏石窟中的'三佛'" 22 : 91-101, 1958

      21 문명대, "三身佛의 圖像特徵과 朝鮮時代 三身佛會圖의 硏究. in: 韓國의 佛畵 12-仙巖寺篇" 207-226, 1998

      22 송은석, "17세기 전반 曹溪山 松廣寺와 彫刻僧: 覺敏, 應元, 印均" 보조사상연구원 (29) : 295-333, 2008

      23 宋殷碩, "17세기 朝鮮王朝의 彫刻僧과 佛像" 서울대학교 2007

      24 김광희, "16세기 菩薩像 연구" 동아시아문물연구학술재단 14 (14): 103-136, 2008

      25 문화재청, "'한국의 사찰문화재', 전라남도Ⅲ" 2006

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      연월일 이력구분 이력상세 등재구분
      2027 평가예정 재인증평가 신청대상 (재인증)
      2021-01-01 평가 등재학술지 유지 (재인증) KCI등재
      2018-01-01 평가 등재학술지 유지 (등재유지) KCI등재
      2015-01-01 평가 등재학술지 유지 (등재유지) KCI등재
      2011-01-01 평가 등재학술지 유지 (등재유지) KCI등재
      2009-01-01 평가 등재학술지 유지 (등재유지) KCI등재
      2006-05-23 학회명변경 한글명 : 한국문화연구소 -> 규장각한국학연구원
      영문명 : Institute of Korean Studies -> Kyujanggak Institute for Korean Studies
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      2006-01-01 평가 등재학술지 선정 (등재후보2차) KCI등재
      2005-01-01 평가 등재후보 1차 PASS (등재후보1차) KCI등재후보
      2004-01-01 평가 등재후보학술지 유지 (등재후보1차) KCI등재후보
      2003-01-01 평가 등재후보학술지 선정 (신규평가) KCI등재후보
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      기준연도 WOS-KCI 통합IF(2년) KCIF(2년) KCIF(3년)
      2016 0.83 0.83 0.82
      KCIF(4년) KCIF(5년) 중심성지수(3년) 즉시성지수
      0.85 0.85 2.07 0.37
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