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
Buddhism entered North East Asia via the Silk Road, beginning in the 2nd century. As a consequence of the expansion of the Kushan Empire into the territory of the Tarim Basin, direct contact of Indian Buddhism continued throughout the North East Asian region. from 3rd to 7th century. From the 4th century onward, with Faxian"s pilgrimage to India (395~414), Xuanzang (629~644), and HeCho(704~787), Shilla monk pilgrims started to travel to northern India in order to get improved access to original scriptures of Buddhism. Much of the land route connecting northern India (Gandhara) with Central Asia at that time was ruled by the Kushan Empire. During these centuries, Indian Buddhism gave rise to the various distinct schools of Buddhism in Central Asia.
The Silk Road transmission of Buddhism began to decline with the Muslim conquest of Transoxiana, resulting in the Uyghur Khaganate by the 740s. By this time, Indian Buddhism itself was in decline, due to the rise of Hinduism on one hand and due to the Muslim expansion on the other, while Shilla(신라) and Gorea(: Kaoli, 고려) Buddhism was develop the Buddhism and Buddhist Art as a Korean traditions. Buddhist Art was brought to Korea via the Silk Road, the lucrative silk trade along the transmission of Buddhist Art to North East via the Silk Road started. It may be assumed that travelers or pilgrims brought Buddhism along the Silk Roads, Extensive contacts however started in the 2nd century, probably as a consequence of the expansion of the Kushan empire into the Tarim Basin, with the missionary efforts of a great number of Central Asian Buddhist monks. The buddhist art transplanted into Parthian, Kushan, Sogdian or Kuchen. In the middle of the 2nd century, the Kushan empire under king Kaniṣka expanded into Central Asia and went as far as taking control of Kashgar, Khotan and Yarkand, in the Tarim Basin. As a consequence, Buddhist Art exchanges greatly increased, and Central Asian Buddhist missionaries became active.
The maritime route made it possible the Buddhism introduced in southern Korean peninsular AD48. The view that Buddhism was transmitted to Gaya by the sea route comparatively lacks convincing and supporting materials, from the King KIM Su-Ro get princess Her from India, Buddhism blended with Korean traditional esoteric arts and its iconography received blind worship.
The Silk Road transmission of Buddhism began to decline with the Muslim conquest of Transoxiana, resulting in the Uyghur Khaganate by the 740s. By this time, Indian Buddhism itself was in decline, due to the rise of Hinduism on one hand and due to the Muslim expansion on the other, while Shilla(신라) and Gorea(: Kaoli, 고려) Buddhism was develop the Buddhism and Buddhist Art as a Korean traditions. Buddhist Art was brought to Korea via the Silk Road, the lucrative silk trade along the transmission of Buddhist Art to North East via the Silk Road started. It may be assumed that travelers or pilgrims brought Buddhism along the Silk Roads, Extensive contacts however started in the 2nd century, probably as a consequence of the expansion of the Kushan empire into the Tarim Basin, with the missionary efforts of a great number of Central Asian Buddhist monks. The buddhist art transplanted into Parthian, Kushan, Sogdian or Kuchen. In the middle of the 2nd century, the Kushan empire under king Kaniṣka expanded into Central Asia and went as far as taking control of Kashgar, Khotan and Yarkand, in the Tarim Basin. As a consequence, Buddhist Art exchanges greatly increased, and Central Asian Buddhist missionaries became active.
The maritime route made it possible the Buddhism introduced in southern Korean peninsular AD48. The view that Buddhism was transmitted to Gaya by the sea route comparatively lacks convincing and supporting materials, from the King KIM Su-Ro get princess Her from India, Buddhism blended with Korean traditional esoteric arts and its iconography received blind worship.
목차
I. 머리말
II. 불교 미술의 발전
III. 주요사례분석
IV. 불교 미술의 동서 교류
V. 맺는 말
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Abstract
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UCI(KEPA) : I410-ECN-0101-2017-030-001381049