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
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This thesis examines features of production technique shown in six Dried-lacquer Buddha statues produced in the 14th-16th century, which have been inherited from Namwon and Naju province in Jeolla-do.
The common features are found in the findings: ① that the complete from was made in the clay forming stage to apply the lacquer with baste fiber fabric; ② for a sedentary statue, not the dried-lacquer layer of trunk but the only head part is incised to eliminate soil and ash tree of the prototype; ③ the head-incised part is not stitched but boned with a glue; ④ the similarities include that the interior of the statue being vacant because the clay and the wood core were not replaced after being removed from the prototype; ⑤ that the modeling stage was omitted; ⑥ the hand is mode of wood; ⑦ bead is added to the black pupil of the eye.
The features above, revealed through the thesis, are not only those of production technique shown in the current Korean Dried-lacquer Buddha statue, but also dissimilarities from those of the existing Japanese Datsukatsu Dried-lacquer Buddha statues production technique, which have been knows as established theory. This result is thought to mean that inheritances of the Dried-lacquer Buddha statue or acceptances of production techniques were implemented at different times in Korea and Japan, and suggest a possibility that the production techniques and materials used in it might have been adapted and changed along with historical trends, according to characteristics of each country.
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