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.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 저널정보
- 미술사연구회 미술사연구 미술사연구 제40호
- 발행연도
- 2021.6
- 수록면
- 25 - 57 (33page)
- DOI
- 10.52799/JAH.2021.06.40.25
이용수
초록· 키워드
오류제보하기
The National Museum of Korea holds more than 38,170 photographs developed from gelatin dry plates. These photographs depicting archaeological, art, and architectural artifacts and ruins in Korea were produced by the Japanese Government-General of Korea as part of its colonial efforts. As long as this objective of these photographs is understood and they are used critically, they can be helpful in studying Buddhist sculptures that still are or once were in North Korea and are currently inaccessible due to the division of the peninsula. It is also necessary to examine official documents issued by the Japanese Government-General of Korea since the documents paired with the photographs to offer further information on these Buddhist sculptures.
Most Buddhist sculptures captured in the gelatin dry plate photographs are works produced during the Goryeo or Joseon Dynasty. This paper classifies the value of the use of these gelatin dry plate photographs into three advantages that are then examined: 1. The photographs offer basic information about the sculptures, including their excavation sites; 2. They enable in-depth and extensive studies of Buddhist iconography; and 3. They show changes in sculptural styles and help with dating the sculptures.
A vast body of Buddhist artworks in North Korea were lost or damaged during the Korean War. Since these gelatin dry plate photographs were produced before the war, they allow the further verification of facts about the Buddhist sculptures and facilitate a better understanding of their original forms.
An analysis of the gelatin dry plate photographs has revealed that iconographically identical types of Buddhist sculptures were produced throughout North and South Korea during the Goryeo period. It also indicates the distribution routes and genealogy of the sculptures. Moreover, the photographs allow us to explore the religious backgrounds of the production of sculptures, thus extending the scope of studies of Korean Buddhist sculpture.
Some of the gelatin dry plate photographs illustrate Buddhist sculptures that further the understanding of changes in sculptural styles and dating of sculptures. As a case in point, Stone Standing Buddha from the site of Mireuksa Temple, which was established around 936 in Kaesong, aptly demonstrates the regional diversity of large and medium-sized tenth-century stone Buddhist sculptures from the early Goryeo period. In a similar vein, Seated Bodhisattva in Bogwangjeon Hall at Singwangsa Temple in Haeju, Hwanghae-do Province attests to the adoption of styles from Yuan Dynasty Buddhist sculptures from the fourteenth century in the late Goryeo period. Furthermore, Gilt-bronze Seated Avalokitesvara created in 1426 at Sindeoksa Temple in Yonggang-gun, Pyeongannam-do Province and Gilt-bronze Seated Amitabha Triad produced in 1454 and excavated from Seongbulsa Temple reflect the process of early Joseon Buddhist sculpture’s transformation into a more uniquely indigenous style.
The gelatin dry plate photographs in the National Museum of Korea are significant materials for the study of the history of Buddhist sculpture in North Korean regions that are currently inaccessible. Future examination of these photographs will lead to additional meaningful findings.
Most Buddhist sculptures captured in the gelatin dry plate photographs are works produced during the Goryeo or Joseon Dynasty. This paper classifies the value of the use of these gelatin dry plate photographs into three advantages that are then examined: 1. The photographs offer basic information about the sculptures, including their excavation sites; 2. They enable in-depth and extensive studies of Buddhist iconography; and 3. They show changes in sculptural styles and help with dating the sculptures.
A vast body of Buddhist artworks in North Korea were lost or damaged during the Korean War. Since these gelatin dry plate photographs were produced before the war, they allow the further verification of facts about the Buddhist sculptures and facilitate a better understanding of their original forms.
An analysis of the gelatin dry plate photographs has revealed that iconographically identical types of Buddhist sculptures were produced throughout North and South Korea during the Goryeo period. It also indicates the distribution routes and genealogy of the sculptures. Moreover, the photographs allow us to explore the religious backgrounds of the production of sculptures, thus extending the scope of studies of Korean Buddhist sculpture.
Some of the gelatin dry plate photographs illustrate Buddhist sculptures that further the understanding of changes in sculptural styles and dating of sculptures. As a case in point, Stone Standing Buddha from the site of Mireuksa Temple, which was established around 936 in Kaesong, aptly demonstrates the regional diversity of large and medium-sized tenth-century stone Buddhist sculptures from the early Goryeo period. In a similar vein, Seated Bodhisattva in Bogwangjeon Hall at Singwangsa Temple in Haeju, Hwanghae-do Province attests to the adoption of styles from Yuan Dynasty Buddhist sculptures from the fourteenth century in the late Goryeo period. Furthermore, Gilt-bronze Seated Avalokitesvara created in 1426 at Sindeoksa Temple in Yonggang-gun, Pyeongannam-do Province and Gilt-bronze Seated Amitabha Triad produced in 1454 and excavated from Seongbulsa Temple reflect the process of early Joseon Buddhist sculpture’s transformation into a more uniquely indigenous style.
The gelatin dry plate photographs in the National Museum of Korea are significant materials for the study of the history of Buddhist sculpture in North Korean regions that are currently inaccessible. Future examination of these photographs will lead to additional meaningful findings.
#북한 지역 불교조각(北韓 地域 佛敎彫刻, Buddhist sculptures in North Korean regions)
#유리건판 사진(琉璃乾板 寫眞, gelatin dry plate photograph)
#조선총독부박물관 공문서(朝鮮總督府博物館 公文書, official document issued by the Japanese Government-General of Korea)
#기년명 불상(紀年銘 佛像, Buddhist sculpture with the production date)
#국립중앙박물관(國立中央博物館, National Museum of Korea)
목차
Ⅰ. 머리말
Ⅱ. 북한 지역 불교조각 촬영 유리건판의 현황과 성격
Ⅲ. 북한 지역 불교조각 촬영 유리건판의 활용 가치
Ⅳ. 맺음말
참고문헌
Abstract
참고문헌 (45)
참고문헌 신청
함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
조선총독부의 고적조사와 총독부박물관
미술자료
2015 .06
-
국립중앙박물관 소장 〈무주 강거사 사경 공덕기 잔비 (武周康居士寫經功德記殘碑)〉의 복원—무주 시기 투루판 지역 소그드인 불교도의 대장경 조성
박물관과 연구
2024 .12
-
朝鮮総督府の古蹟調査と総督府博物館
미술자료
2015 .06
-
국내 박물관에서의 모바일 러닝 현황 분석연구
미술교육논총
2016 .01
-
참여 기반의 박물관 경험 확장과 박물관 교육의 변화—〈마음복원소〉와 〈기록, Map of You〉의 기획과 실행
박물관과 연구
2024 .12
-
李王家博物館 佛像 컬렉션의 형성과 의미
미술사학연구(구 고고미술)
2021 .03
-
제실 박물관에서 이왕가 미술관으로: 컬렉션 목록으로 본 소장품의 구성과 특성 변화
박물관과 연구
2024 .06
-
근대기 불교조각의 특징과 일본 불상의 유입
미술사학연구(구 고고미술)
2019 .09
-
인도와 한국 불상의 안면 특징 비교연구
기초조형학연구
2017 .02
-
온라인 박물관 사용자의 인터페이스 선호유형에 관한 연구 - 중국 국가박물관, 베이징 고궁박물원, 둔황 모고고박물원을 중심으로
상품문화디자인학연구
2024 .09
-
國立中央博物館 所藏 通信使 受贈 日本 金屛風 考察
미술자료
2017 .06
-
시대적 변화에 따른 국립박물관 공공공간의 활용 변화
조형미디어학
2023 .11
-
전쟁기념(박물)관의 새로운 전시 패러다임에 관한 연구
한국실내디자인학회 논문집
2016 .08
-
National Museum of Korea
한국기초조형학회 작품집
2019 .05
-
한·중·일 국립박물관 전시 공간의 디지털 융합 기술 활용 현황 연구
기초조형학연구
2024 .10
-
발달장애아동을 위한 박물관 공간 구성—국립중앙박물관 어린이박물관 ‘마음보듬소’를 중심으로
박물관과 연구
2024 .12
-
조선총독부박물관 문서의 분류 체계에 대한 시론
미술자료
2019 .12
-
박물관 교육프로그램이 청소년의 감성感性에 미치는 영향 - 국립중앙박물관 자유학기제 프로그램 사례를 중심으로
박물관 교육
2017 .12
-
국내 전시 사례로 본 국외 소재 한국 문화재에 대한 국내의 인식 변화
박물관과 연구
2024 .06
-
한국 근대기 공문서 양식의 시각성
한국디자인학회 학술발표대회 논문집
2015 .05
이 논문의 저자 정보
이 논문과 함께 이용한 논문
한국 고대 여인상을 활용한 문화상품 디자인 개발 -국립중앙박물관과 국립경주박물관의 전시ㆍ소장품을 중심으로-
윤은재
한복문화
2023
.03
박물관 해설 현황 및 전문해설사 양성 교육에 대한 소고 - 국립중앙박물관 전시해설을 중심으로 -
김희정
박물관 교육
2019
.12
국립중앙박물관 소장 고구려 벽화 편의 보존과 분석
조연태
박물관 보존과학
2013
.12
국립중앙박물관 보존과학 기능 발전 방안연구
정용재
,
정선혜
,
이나라
외 1명
박물관 보존과학
2018
.05
박물관의 감정적 전시, 방문객의 감정이입, 그리고 역사교육과 유산교육
姜鮮珠
역사교육
2022
.03
최근 본 자료
댓글(0)
0