지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
This paper investigates the stone Buddha triad image enshrined in the main hall of Gaetaesa (開泰寺). Gaetaesa was completed by the order of Wang Geon (王建) in 940, four years after he finally defeated the Later Paekje here and unified the later Three Kingdoms. To commemorate his victory, Wang Geon built this temple for the Hwaeom sect (華嚴宗) on his last battlefield at Yeonsan (連山), in South Chungcheong province.
The stone Buddha triad of Gaetaesa is monumental. Their bulky bodies are flat and massive, like stone pillars. There is a certain lack of realism in these images, which was probably not only due to the fact that four years were too short to finish this huge temple, but also to the fact local artisans participated in this project. The stylistic mode of these Gaetaesa images are also exhibited in many stone Buddha images in northern regions of North Gyeongsang province, such as the standing Buddha image at the temple-site of Dongbon-dong (東本洞) in Yecheon and that of Cheonseongsa (千聖寺) in Bonghwa. They also betray close similarity to the stone standing Buddha at the temple-site in Wonpyeong-dong (院坪洞), Cheongju, of the North Chungcheong province.
In the early tenth century the north part of North Gyeongsang province was the border area of Silla and many powerful clans governing there surrendered themselves to Goryeo. Textual evidences show that one of the powerful clans, led by General Seonpil (善弼) of the Yeongju area, helped Wang Geon not only make contact with me royal court of Silla but to rule over me North Gyeongsang province area, Since the North Gyeongsang province area was easily connected to the North Chungcheong province area by way of mountain passes like Jungnyeong (竹嶺) and Gyerimryeong (鷄立嶺), artisans working for the powerful clans and aristocrats in the Silla border area moved north to me Goryeo area for the opportunity of working on new projects. The nearest political and cultural center with easy access to north part of North Gyeongsang province was most likely the Cheongju area, which was known for its powerful clan, the Yu family (劉氏), whose daughter became one of Wang Geon' s queens and mother of Kings Jeongjong (定宗) and Gwangjong (光宗).
From 936 A., me year of the unification of me late Three Kingdoms, a number of projects constructing new temples were begun in Gaeseong For this reason Gaeseong must have had a great demand for artisans at that time, Therefore, it can be assumed that artisans from the north pan of North Gyeongsang province were put to me new national project of constructing Gaetaesa,
The iconography of a standing Buddha wearing Kasaya with his right shoulder exposed was a rare example in the early tenth century. The Buddha staring forward smiling and me two attendant Bodhisattvas wearing wide shawls on their upper bodies and rou.nd aprons over their skirts with long tassels falling from me waist can be closely compared to 9th to 10th century Indian sculptures of me Pala period. Records show that a few Indian Buddhist monks can1e to south ports of China in the tenth century, and several of them visited Goryeo during Wang Geon s reign, Many Korean monks who had studied in China came back to Goryeo at that time, It would therefore seem that such relationships provided a channel for artistic influence and that new stylistic trends and iconography in Pala sculpture were imported to Goryeo.
As Gaetaesa was made as a temple of the Hwaeom sect, the main Buddha image should be Vairocana Buddha, the main Buddha of the Hwaeom (Avatarnsaka) surra. The central Buddha image of Gaetaesa however does not show the typical hand-gesture (mudra) of Vairocana which was popular in Vairocana Buddha images of me ninth century which were represented with me "chikwon-in" mudra (智拳印) of Mahavairocana of the Esoteric Buddhism, It is interesting to note that the painting of 'assemblies of Vairocana Buddha held at seven places on earth and in heaven and nine times (七處九回)" based on Avatarnsaka surra newly translated in 699 by Siksananda the so-called "80 Hwaeom" shows Vairocana Buddha with Abhaya mudra not with 'chikwori-in" of Mahavairocana. Since 80 Hwaeom was known to the Buddhist monasteries of me Hwaeom sect from the late Silla period it seems probable that paintings of Avatamsaka surra were also imported from China and that they had an impact on the iconography of me main Buddha image at Gaetaesa.
The stone Buddha triad of Gaetaesa is monumental. Their bulky bodies are flat and massive, like stone pillars. There is a certain lack of realism in these images, which was probably not only due to the fact that four years were too short to finish this huge temple, but also to the fact local artisans participated in this project. The stylistic mode of these Gaetaesa images are also exhibited in many stone Buddha images in northern regions of North Gyeongsang province, such as the standing Buddha image at the temple-site of Dongbon-dong (東本洞) in Yecheon and that of Cheonseongsa (千聖寺) in Bonghwa. They also betray close similarity to the stone standing Buddha at the temple-site in Wonpyeong-dong (院坪洞), Cheongju, of the North Chungcheong province.
In the early tenth century the north part of North Gyeongsang province was the border area of Silla and many powerful clans governing there surrendered themselves to Goryeo. Textual evidences show that one of the powerful clans, led by General Seonpil (善弼) of the Yeongju area, helped Wang Geon not only make contact with me royal court of Silla but to rule over me North Gyeongsang province area, Since the North Gyeongsang province area was easily connected to the North Chungcheong province area by way of mountain passes like Jungnyeong (竹嶺) and Gyerimryeong (鷄立嶺), artisans working for the powerful clans and aristocrats in the Silla border area moved north to me Goryeo area for the opportunity of working on new projects. The nearest political and cultural center with easy access to north part of North Gyeongsang province was most likely the Cheongju area, which was known for its powerful clan, the Yu family (劉氏), whose daughter became one of Wang Geon' s queens and mother of Kings Jeongjong (定宗) and Gwangjong (光宗).
From 936 A., me year of the unification of me late Three Kingdoms, a number of projects constructing new temples were begun in Gaeseong For this reason Gaeseong must have had a great demand for artisans at that time, Therefore, it can be assumed that artisans from the north pan of North Gyeongsang province were put to me new national project of constructing Gaetaesa,
The iconography of a standing Buddha wearing Kasaya with his right shoulder exposed was a rare example in the early tenth century. The Buddha staring forward smiling and me two attendant Bodhisattvas wearing wide shawls on their upper bodies and rou.nd aprons over their skirts with long tassels falling from me waist can be closely compared to 9th to 10th century Indian sculptures of me Pala period. Records show that a few Indian Buddhist monks can1e to south ports of China in the tenth century, and several of them visited Goryeo during Wang Geon s reign, Many Korean monks who had studied in China came back to Goryeo at that time, It would therefore seem that such relationships provided a channel for artistic influence and that new stylistic trends and iconography in Pala sculpture were imported to Goryeo.
As Gaetaesa was made as a temple of the Hwaeom sect, the main Buddha image should be Vairocana Buddha, the main Buddha of the Hwaeom (Avatarnsaka) surra. The central Buddha image of Gaetaesa however does not show the typical hand-gesture (mudra) of Vairocana which was popular in Vairocana Buddha images of me ninth century which were represented with me "chikwon-in" mudra (智拳印) of Mahavairocana of the Esoteric Buddhism, It is interesting to note that the painting of 'assemblies of Vairocana Buddha held at seven places on earth and in heaven and nine times (七處九回)" based on Avatarnsaka surra newly translated in 699 by Siksananda the so-called "80 Hwaeom" shows Vairocana Buddha with Abhaya mudra not with 'chikwori-in" of Mahavairocana. Since 80 Hwaeom was known to the Buddhist monasteries of me Hwaeom sect from the late Silla period it seems probable that paintings of Avatamsaka surra were also imported from China and that they had an impact on the iconography of me main Buddha image at Gaetaesa.
목차
머리말
高麗의 後三國統一과 開泰寺 創建
개태사 석조삼존불입상의 분석
맺음말
ABSTRACT
참고문헌 (0)
참고문헌 신청함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
石窟庵 造營 배경과 본존불상 도상의 화엄교의적 해석
불교미술사학
2019 .01
-
신라하대 비로자나삼존불상의 양식특징과조성배경에 관한 고찰
불교미술사학
2018 .01
-
고려후기 마애불에 대한 고찰 : 조성시기와 특징을 중심으로
미술사학연구(구 고고미술)
2019 .03
-
高麗前期 新樣式 石佛의 展開와 造成背景
미술사학연구(구 고고미술)
2015 .09
-
일본 다나카家 소장 고려 말기 〈毘盧遮那三千佛圖〉에 대한 고찰 : 三千大天世界에 충만한 法身의 조형적 표현
미술사학연구(구 고고미술)
2009 .03
-
통일신라시대 비로자나불상의 도상 연구 : 광배와 대좌에 보이는 중기밀교 요소를 중심으로
미술사학연구(구 고고미술)
2006 .12
-
조선 후기 통도사 선묘(線描) 화엄경변상도의 도상해석학적 연구
미술문화연구
2017 .06
-
조선왕조시대 釋迦誕生圖像 연구
미술사학연구(구 고고미술)
2006 .09
-
統一新羅時代의 石佛
미술사학연구(구 고고미술)
1982 .06
-
곡성 堂洞里寺址의 고려시대 석조여래좌상 고찰
불교미술사학
2015 .01
-
부여 무량사 극락전 아미타삼존후불도 연구
불교미술사학
2019 .01
-
道岬寺 觀世音菩薩三十二應幀의 圖像 硏究
미술사학연구(구 고고미술)
2003 .12
-
통일신라시대 화엄계 불상의 도상과 교의적 해석
미술사학연구(구 고고미술)
2017 .06
-
통일신라시대 비로자나불상의 신라적 변용과 특성
미술사학연구(구 고고미술)
2006 .09
-
석남사 비로자나불상을 통해 본 통일신라시대 여래형 지권인 비로자나불상의 도상과 신앙
불교미술사학
2020 .01
-
조선후기 경상도지역 佛石製 佛像의 등장과 유행
불교미술사학
2012 .01
-
皇龍寺中金堂址佛像臺石에 대한 고찰
미술사연구
2010 .12
-
元曉系 華嚴宗 本尊佛 問題와 三和寺 鐵盧舍那佛像의 硏究
미술사학연구(구 고고미술)
2002 .12
-
1628年 七長寺 〈五佛會掛佛圖〉硏究
미술사논단
2006 .12
-
大興寺 法身中圍會三十七尊圖考 : 朝鮮時代 密敎系 佛畵의 硏究(1)
미술사학연구(구 고고미술)
2003 .09
이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2010-650-002620243