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초록· 키워드
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The purpose of this article makes a comparative study between Buddhist design of India which originated Buddhism and the design of Korea. A lotus design, one of the Buddhist patterns, is commonly used in all nations which Buddhism is derived from. That is why a lotus design is taken into this study. After looking into the origin of lotus patterns which is a representative characteristic of Buddhist design, we can inquired into the reason of being a representation and the processes of being changed.
The subject of study is a lotus design sculptured on the Bharhut Stupa and Sanghol Stupa which are the Buddhist remains of India and a semicircular lotus design of Goguryeo, Backjae, Shila which were Korean ancient countries. The changes of each molding are investigated in this study. A semicircular is thought to be together used in architecture with a lotus design of India, however they have some differences with respect to materials between stones and tiles and being of a different size according to places to use. Despite all of these things, they have an important factor showing Buddhist production so they are enough to study.
First, an early lotus design of India is characterized with various descriptions about the processes from blooming to falling such as a lotus of the blooming season, a flowered lotus, a faded lotus and being appeared with a blue design of Egyptian.
Second, a flowered lotus design of Sanghol Stupa in the latter period is described in detail compared to a pictorial book of the flora. This results in a strong naturalism and diverse modifications having no same design with it.
When it is compared to that of Korea, elements of a lotus design such as an ovary, petals, a gap of petals, circumference of leaves are identical to that of India, however, there are certain differences in being pericarp which includes a stamen and changing variously due to broad circumference of leaves.
According to Koguryo, Paekche, Shilla in sequence, all of them are characterized as using the flowered lotus design. Also, contrary to that of India, they give changes in number of seeds by emphasizing an ovary, in size and number of petals to pursue the diversity and in vein using by lines. However, making a lotus design standardized, a semicircular in itself limits the description of Indian naturalism.
The subject of study is a lotus design sculptured on the Bharhut Stupa and Sanghol Stupa which are the Buddhist remains of India and a semicircular lotus design of Goguryeo, Backjae, Shila which were Korean ancient countries. The changes of each molding are investigated in this study. A semicircular is thought to be together used in architecture with a lotus design of India, however they have some differences with respect to materials between stones and tiles and being of a different size according to places to use. Despite all of these things, they have an important factor showing Buddhist production so they are enough to study.
First, an early lotus design of India is characterized with various descriptions about the processes from blooming to falling such as a lotus of the blooming season, a flowered lotus, a faded lotus and being appeared with a blue design of Egyptian.
Second, a flowered lotus design of Sanghol Stupa in the latter period is described in detail compared to a pictorial book of the flora. This results in a strong naturalism and diverse modifications having no same design with it.
When it is compared to that of Korea, elements of a lotus design such as an ovary, petals, a gap of petals, circumference of leaves are identical to that of India, however, there are certain differences in being pericarp which includes a stamen and changing variously due to broad circumference of leaves.
According to Koguryo, Paekche, Shilla in sequence, all of them are characterized as using the flowered lotus design. Also, contrary to that of India, they give changes in number of seeds by emphasizing an ovary, in size and number of petals to pursue the diversity and in vein using by lines. However, making a lotus design standardized, a semicircular in itself limits the description of Indian naturalism.
목차
Ⅰ. 머리말
Ⅱ. 인도
Ⅲ. 한국의 연화문양
Ⅳ. 결론
참고문헌
Abstract
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