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
Yang Jian(楊堅), The Emperor Wenti(文帝) who ended the division of Six Dynasties and established Sui(隋) dynasty supported Buddhism for the spiritual unification of the nation. Buddhism after the persecution of Emperor Wudi(武帝) of Northern Zhou(北周) revived rapidly. Large number of people entered the Buddhist priesthood and thousands of temples were newly constructed with the production of buddhist statues. The number of new statues made were over 100,000 and a great number of old statues were repaired.
Southern Buddhist priesthood was kindly treated. The prince Wang Guang(晋王廣) of Jin who became the Emperor Yangdi(煬帝) later developed a relation to Zhiyi(智剡) of Tiantai sect(天台宗) and invited Jizang(吉藏) of Sanlun sect(三論宗) to Changan(長安), the capital of the dynasty. He also collected the Buddhist statues of the Southern Dynasties and sent it to Changan.
Changan was the center of the Buddhist culture in the Sui dynasty. Despite all these circumstances, however, the sculptural style of Changan did not spread all over the country because of short duration of the dynasty and it also did not establish the unified style of the nation.
In Northern Qi(北齊) area, the local style which had already begun to sprout in Northern Qi period advanced and formed unique styles in Shandong(山東) and Shanxi(山西) provinces. As a result, three major styles emerged in the centers of Buddhist culture of Northern Qi, Shandong, Shanxi and Hebei(河北) provinces. On the other hand, Changan of Shaanxi(陝西) province was the sole center of sculptural style since Western Wei(西魏).
At the end of Eastern Wei(東魏) dynasty, new styles from India and Southeastern Asia were introduced. As a result, the bodhisattva of Hebei region developed the voluminous expression of bodies whose upper-half was nude combined with traditional X-shaped or new double U-shaped shawl, The bodhisattvas from Shandong wore various costumes and jewelry types even including secular costumes and pendants. The bodhisattvas from Shanxi were traditional in style, but had h?ra with jade plaque sets and monster masks.
The bodhisattvas of Western Wei dynasty and Northern Zhou accommodated the costumes and jewelry types of Indian style instead of the voluminous expression of bodies and became more decorative due to such Indian costumes and decoration. Therefore, two distant h?ra types developed in Shaanxi region during Sui dynasty; the first was bejeweled with the mixed type of U-shaped Indian string and X-shaped h?ara; the second is bejeweled only with U-shaped string. These two types constituted the distinctive styles of the bodhisattvas from Shaanxi region along with U-shaped shawl, which were popular during Sui dynasty. The later bodhisattvas from Shaanxi region during Sui dynasty highly developed even showing tribanga positions with double Ushaped shawl, which predicted the Tang style.
Southern Buddhist priesthood was kindly treated. The prince Wang Guang(晋王廣) of Jin who became the Emperor Yangdi(煬帝) later developed a relation to Zhiyi(智剡) of Tiantai sect(天台宗) and invited Jizang(吉藏) of Sanlun sect(三論宗) to Changan(長安), the capital of the dynasty. He also collected the Buddhist statues of the Southern Dynasties and sent it to Changan.
Changan was the center of the Buddhist culture in the Sui dynasty. Despite all these circumstances, however, the sculptural style of Changan did not spread all over the country because of short duration of the dynasty and it also did not establish the unified style of the nation.
In Northern Qi(北齊) area, the local style which had already begun to sprout in Northern Qi period advanced and formed unique styles in Shandong(山東) and Shanxi(山西) provinces. As a result, three major styles emerged in the centers of Buddhist culture of Northern Qi, Shandong, Shanxi and Hebei(河北) provinces. On the other hand, Changan of Shaanxi(陝西) province was the sole center of sculptural style since Western Wei(西魏).
At the end of Eastern Wei(東魏) dynasty, new styles from India and Southeastern Asia were introduced. As a result, the bodhisattva of Hebei region developed the voluminous expression of bodies whose upper-half was nude combined with traditional X-shaped or new double U-shaped shawl, The bodhisattvas from Shandong wore various costumes and jewelry types even including secular costumes and pendants. The bodhisattvas from Shanxi were traditional in style, but had h?ra with jade plaque sets and monster masks.
The bodhisattvas of Western Wei dynasty and Northern Zhou accommodated the costumes and jewelry types of Indian style instead of the voluminous expression of bodies and became more decorative due to such Indian costumes and decoration. Therefore, two distant h?ra types developed in Shaanxi region during Sui dynasty; the first was bejeweled with the mixed type of U-shaped Indian string and X-shaped h?ara; the second is bejeweled only with U-shaped string. These two types constituted the distinctive styles of the bodhisattvas from Shaanxi region along with U-shaped shawl, which were popular during Sui dynasty. The later bodhisattvas from Shaanxi region during Sui dynasty highly developed even showing tribanga positions with double Ushaped shawl, which predicted the Tang style.
목차
Ⅰ. 머리말
Ⅱ. 隋代 보살상의 전개
Ⅲ. 隋代 보살상의 양식적 특징
Ⅳ. 맺음말
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〈Abstract〉
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