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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2001.3
- 수록면
- 5 - 37 (33page)
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Gilt-bronze Bodhisattva images of the early Kory? period (918-1231) could be classified into two stylistic types. One is a traditional type, which is again divided into two groups depending on whether the stylistic source was the classical style from the Unified Silla period or an earlier style from the Three Kingdoms period of the 7th century. The other is a type inspired by new stylistic influence from the Song (960-1279) or Liao (907-1125) of China.
Good examples of the classical type in the Unified Silla style are gilt-bronze standing Bodhisattva images in the National Museum, Seoul and in Manganji temple in Japan. These two images are characterized by a round face with long straight-lined eyes, narrow shoulders with a long and narrow neck, a diagonally worn scarf, and an octagonal lotus-throne. Examples in the archaistic style of the 7th century could be seen in the three gilt-bronze standing Bodhisattvas in the collection of Tokyo University. These three images are dated to 1010 by an inscription of the 28th year of Tonghua carved on the back of the pedestal. They are identified as the Bodhisattva Avalokite?vara by a small Buddha in the headdress. A bottle and a lotus bud are held in each hand, and a scarf is worn crossing the body in an X-shaped pattern, the characteristics that remind one of Bodhisattva images of the Three Kingdoms period in the 7th century. Drapery also shows a similar pattern as the Bodhisattvas of the 7th century. However, it tends to be more decorative and complex under the influence of the contemporaneous Kory? style.
In the early Kory? dynasty trade with Song and Liao of China was undertaken in a vast scale, particularly during the 11th and 12th centuries. The Bodhisattva images that exhibit the influence from the Liao dynasty have a small cylindrical headdress, a band around the headdress crown hanging down all the way to the heels and a vertically-tripartite pedestal. Under the influence from the Northern Song, the distinct posture of the royal ease was also introduced. A four-angled crown and heavy pendants are visible in a figure in the Avalokite?vara Cave in Kaes?ng. The contact with the Southern Song brought another new type as seen in Bodhisattva figures in bronze at Kinkoku-ji temple, Nagasaki and a Bodhisattva in wood at Pongj?ng-sa dated to 1199. They have distinct feature such as a thick garment covering both shoulders, gold-metal ornaments on the underwear, and triangled drapes extended from end of the sleeves.
The extant gilt-bronze Bodhisattva images of the early Kory? period are scarce. Only one piece can be dated by an inscription. Therefore, it is difficult to know an exact developmental process in style. It is presumed that the classical type continued the Unified Silla style during the 10th century, and the archaistic type in the style of the 7th century appeared in the 11th century. New inspirations from China began to be felt from the 11th century onward.
Good examples of the classical type in the Unified Silla style are gilt-bronze standing Bodhisattva images in the National Museum, Seoul and in Manganji temple in Japan. These two images are characterized by a round face with long straight-lined eyes, narrow shoulders with a long and narrow neck, a diagonally worn scarf, and an octagonal lotus-throne. Examples in the archaistic style of the 7th century could be seen in the three gilt-bronze standing Bodhisattvas in the collection of Tokyo University. These three images are dated to 1010 by an inscription of the 28th year of Tonghua carved on the back of the pedestal. They are identified as the Bodhisattva Avalokite?vara by a small Buddha in the headdress. A bottle and a lotus bud are held in each hand, and a scarf is worn crossing the body in an X-shaped pattern, the characteristics that remind one of Bodhisattva images of the Three Kingdoms period in the 7th century. Drapery also shows a similar pattern as the Bodhisattvas of the 7th century. However, it tends to be more decorative and complex under the influence of the contemporaneous Kory? style.
In the early Kory? dynasty trade with Song and Liao of China was undertaken in a vast scale, particularly during the 11th and 12th centuries. The Bodhisattva images that exhibit the influence from the Liao dynasty have a small cylindrical headdress, a band around the headdress crown hanging down all the way to the heels and a vertically-tripartite pedestal. Under the influence from the Northern Song, the distinct posture of the royal ease was also introduced. A four-angled crown and heavy pendants are visible in a figure in the Avalokite?vara Cave in Kaes?ng. The contact with the Southern Song brought another new type as seen in Bodhisattva figures in bronze at Kinkoku-ji temple, Nagasaki and a Bodhisattva in wood at Pongj?ng-sa dated to 1199. They have distinct feature such as a thick garment covering both shoulders, gold-metal ornaments on the underwear, and triangled drapes extended from end of the sleeves.
The extant gilt-bronze Bodhisattva images of the early Kory? period are scarce. Only one piece can be dated by an inscription. Therefore, it is difficult to know an exact developmental process in style. It is presumed that the classical type continued the Unified Silla style during the 10th century, and the archaistic type in the style of the 7th century appeared in the 11th century. New inspirations from China began to be felt from the 11th century onward.
목차
Ⅰ. 머리말
Ⅱ. 高麗前期 傳統 樣式의 繼承과 變形
Ⅲ. 高麗前期 對中交涉과 외래요소의 수용
맺음말
[ABSTRACT]
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