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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 저널정보
- 한국미술연구소 미술사논단 美術史論壇 第42號
- 발행연도
- 2016.6
- 수록면
- 107 - 130 (24page)
- DOI
- 10.14380/AHF.2016.42.107
이용수
초록· 키워드
오류제보하기
In this writing, the aspects of the changes of the relationship between the ‘Eunjin Mireuk’ and the surrounding people and the state were approached through the key-words of ‘possession’ and ‘protection’. Through this, it is intended to make a critical viewpoint regarding the generally accepted one of the possession of a cultural properties = the preservation and protection.
With the opening of the Honam Railroad that passes the Nonsan Station, the visits to the Gwanchoksa Temple started being vigorous. And at the Maitreya Festival, the people overcrowded.
For the Gwanchoksa Temple, the problem was that the too big crowd can destroy the Eunjin Mireuk, without any justifications and methods to block the people. With the promulgating ‘The Protecting Order of Joseon Treasure’(1933), the isolation and the blocking of the Eunjin Mireuk began to be possible.
After the liberation, the Eunjin Mireuk has been recontextualized as ‘a historical construction’ instead of a natural stone statue or a religious sacredness in the discussion of Nonsan reign people, which ends without any concrete conclusion due to the sudden war.
In the 1950s, as a result of the Buddhist purification movement, the religious constructions of Buddhism lost their religious aura, and they became the cultural properties of the nation. Moreover, in the government’s redesignation of the cultural asset which aim to distinguish the national essences, the Eunjin Mireuk was demoted to being a treasure, as to be ‘the local style’, which is a different name of inferior quality.
The reason why the definitions regarding the Eunjin Mireuk, which are said to be a local style, must be called into question is because of that it is defined in the conditions in which the religiosity has been gotten rid of and the placeness of the Eunjin Mireuk had been atomized.
With the opening of the Honam Railroad that passes the Nonsan Station, the visits to the Gwanchoksa Temple started being vigorous. And at the Maitreya Festival, the people overcrowded.
For the Gwanchoksa Temple, the problem was that the too big crowd can destroy the Eunjin Mireuk, without any justifications and methods to block the people. With the promulgating ‘The Protecting Order of Joseon Treasure’(1933), the isolation and the blocking of the Eunjin Mireuk began to be possible.
After the liberation, the Eunjin Mireuk has been recontextualized as ‘a historical construction’ instead of a natural stone statue or a religious sacredness in the discussion of Nonsan reign people, which ends without any concrete conclusion due to the sudden war.
In the 1950s, as a result of the Buddhist purification movement, the religious constructions of Buddhism lost their religious aura, and they became the cultural properties of the nation. Moreover, in the government’s redesignation of the cultural asset which aim to distinguish the national essences, the Eunjin Mireuk was demoted to being a treasure, as to be ‘the local style’, which is a different name of inferior quality.
The reason why the definitions regarding the Eunjin Mireuk, which are said to be a local style, must be called into question is because of that it is defined in the conditions in which the religiosity has been gotten rid of and the placeness of the Eunjin Mireuk had been atomized.
#은진미륵 Eunjin Mireuk
#향유와 보호 possession and protection
#朝鮮寶物古蹟名勝天然記念物保存令 the order for the preservation of Joseon treasure
#scenic spots and places of historic interest
#and natural monument(The protecting order of Joseon treasure)
#論山彌勒保勝會 the meeting for protection of Nonsan Mireuk scenic spots(Nonsan Mireuk Boseunghoi)
#灌燭寺保勝協會 the meeting for protection of Gwanchoksa scenic spots(Gwanchoksa Boseunghyuphoi)
#지방양식 local style
목차
Ⅰ. 머리말
Ⅱ. 일제시기 은진미륵의 향유와 보호
Ⅲ. 해방 이후 은진미륵, 향유와 보호의 기로
Ⅳ. 맺음말
참고문헌
ABSTRACT
참고문헌 (18)
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UCI(KEPA) : I410-ECN-0101-2017-650-000802767