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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2001.3
- 수록면
- 39 - 63 (25page)
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A number of Buddhist sculptures are extant in the W?nju 原州 area unlike other parts of the Kangw?n province. Most of them are dated to the first half of the Kory? period. Thirteen pieces are present in situ, while five iron images and two stone images are stored in the collection of the National Museum. The fact that all the twenty pieces are created in a small area within a short span of time deserves particular attention, but no previous study has focused on these objects.
They have not drawn scholarly attention most probably because they seemed to include no datable piece. Fortunately, we now have one datable piece, a rock-carved Buddha of Ips?k-sa 立石史, which has an inscription of the 5th year of Yuanyou (1090). It is anticipated that it would provide an important clue for dating other similar pieces.
This article is the first attempt to deal with the Buddhist sculpture of W?nju in a single group in the light of the dated Buddha of Ips?k-sa. In this attempt, I explore the reason for the creation of a large number of Buddhist sculptures in this area and the more specific date of their creation within the first half of the Kory? period.
Several points are presented in conclusion. First, all the sculptures from this area share the same stylistic characteristics and datable roughly to the middle to the late 11th century. The geographical location of W?niu seems to have contributed to the emergence of this particular style. Wonju was under the strong influence of Kaegy?ng 開京, the capital of Kory?, connected through the South Han river. Especially W?nju enjoyed prosperity during the 11th century, when the H?ngw?n granary 興原倉 was installed in this city. Thus, the Buddhist sculpture of W?nju was also closely associated with the style of the capital area. Unfortunately no sculpture made in Kaegy?ng during the 11th century; so it is not possible to make stylistic comparison between these two regions. It is certain, however, that the Buddhist sculptures of W?nju had their patrons who had a close relationship with central capital area and great authority over W?nju. Cultural communication with other area through river transportation must have promoted the refinement of the sculpture of this area.
I suggest that the sculptural style of W?nju in the 11th centrury would have been quite similar to that of Kaegy?ng, because they had a close relationship in many respects. This conclusion would be supported by the comparison between a rock-carved Buddha of Ips?k-sa and the sculptural decoration on the relic stupa of the national patriarch Chigwang 智光國師.
They have not drawn scholarly attention most probably because they seemed to include no datable piece. Fortunately, we now have one datable piece, a rock-carved Buddha of Ips?k-sa 立石史, which has an inscription of the 5th year of Yuanyou (1090). It is anticipated that it would provide an important clue for dating other similar pieces.
This article is the first attempt to deal with the Buddhist sculpture of W?nju in a single group in the light of the dated Buddha of Ips?k-sa. In this attempt, I explore the reason for the creation of a large number of Buddhist sculptures in this area and the more specific date of their creation within the first half of the Kory? period.
Several points are presented in conclusion. First, all the sculptures from this area share the same stylistic characteristics and datable roughly to the middle to the late 11th century. The geographical location of W?niu seems to have contributed to the emergence of this particular style. Wonju was under the strong influence of Kaegy?ng 開京, the capital of Kory?, connected through the South Han river. Especially W?nju enjoyed prosperity during the 11th century, when the H?ngw?n granary 興原倉 was installed in this city. Thus, the Buddhist sculpture of W?nju was also closely associated with the style of the capital area. Unfortunately no sculpture made in Kaegy?ng during the 11th century; so it is not possible to make stylistic comparison between these two regions. It is certain, however, that the Buddhist sculptures of W?nju had their patrons who had a close relationship with central capital area and great authority over W?nju. Cultural communication with other area through river transportation must have promoted the refinement of the sculpture of this area.
I suggest that the sculptural style of W?nju in the 11th centrury would have been quite similar to that of Kaegy?ng, because they had a close relationship in many respects. This conclusion would be supported by the comparison between a rock-carved Buddha of Ips?k-sa and the sculptural decoration on the relic stupa of the national patriarch Chigwang 智光國師.
목차
Ⅰ. 머리말
Ⅱ. 고려전기 원주지역 불ㆍ보살상의 조성배경
Ⅲ. 고려전기 원주지역 불ㆍ보살입상의 현상 및 특징
Ⅳ. 양식적 특징과 제작년대
Ⅴ. 맺음말 -조각사적 의의-
[ABSTRACT]
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UCI(KEPA) : I410-ECN-0101-2009-609-016481310