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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.
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초록· 키워드
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In the study of Buddhist sculptures, forms of images follow the rules of Buddhist iconography, such as hand gestures, poses, or modes of wearing garments. Styles, on the other hands, are more about facial expressions, technical process of carving or casting and its effects on the images appearance. Therefore, knowledge in Buddhist texts and iconography is prerequisite to understand the forms of Buddhist images. It appears that the forms do not change easily according to region, period or related people. But the styles reveal regional preferences, so that facial expressions of images, proportions or the modes of wearing garments, the degree of plasticity and ornamentations vary between regions. The stylistic features of images also change through the span of time. The stylistic variations are evident in that the images of India, China, Korea and Japan differ from one another, and that the Sui sculptures from the T'ang images, and that the images of the Three Kingdoms from those of the Unified Silla.
In order to understand the meaning of certain iconography, one has to familiarize himself/herself with Buddhist texts, from which the formal aspects of images are derived. While the forms often retain their original meanings changes occur in the styles. In this case, one can compare the images with other examples, which could bring light to the problems such as the stylistic origins and the possible routes through which new forms and styles traveled. By making use of this method, one can figure out the similarities and differences in images, establish stylistic lineages and place certain images in a proper context in the development of Buddhist sculpture in Asia. When one is making comparisons between images, religious activities and cultural exchanges need to be considered as well.
It is needless to say that comparative studies between Korean Buddhist images and the related examples in India and China are important, for they reveal the universality and particularity of Korean examples and also enhance our understanding of the transformation of the foreign models in Korea. Japanese sculptures are also significant in this approach, for many extant images in Japan show affinities with Korean counterparts, Presumably, some images were brought from Korea, some retain strong Korean influence and some were combination of Korean forms and Japanese style. Thus, by referring to the rich amount of images and textual sources preserved in Japan, it is possible to reconstruct the lost part of the original forms and styles of Korean Buddhist art.
In order to understand the meaning of certain iconography, one has to familiarize himself/herself with Buddhist texts, from which the formal aspects of images are derived. While the forms often retain their original meanings changes occur in the styles. In this case, one can compare the images with other examples, which could bring light to the problems such as the stylistic origins and the possible routes through which new forms and styles traveled. By making use of this method, one can figure out the similarities and differences in images, establish stylistic lineages and place certain images in a proper context in the development of Buddhist sculpture in Asia. When one is making comparisons between images, religious activities and cultural exchanges need to be considered as well.
It is needless to say that comparative studies between Korean Buddhist images and the related examples in India and China are important, for they reveal the universality and particularity of Korean examples and also enhance our understanding of the transformation of the foreign models in Korea. Japanese sculptures are also significant in this approach, for many extant images in Japan show affinities with Korean counterparts, Presumably, some images were brought from Korea, some retain strong Korean influence and some were combination of Korean forms and Japanese style. Thus, by referring to the rich amount of images and textual sources preserved in Japan, it is possible to reconstruct the lost part of the original forms and styles of Korean Buddhist art.
목차
Ⅰ. 한국조각의 범위
Ⅱ. 비교연구의 중요성
Ⅲ. 연구의 현황과 경향
Ⅳ. 연구의 문제점과 방향제시
Ⅴ. 맺음말
ABSTRACT
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UCI(KEPA) : I410-ECN-0101-2009-609-014719306