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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.
초록· 키워드
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In the period of the Southern and Northern Dynasties in China, historical tumults and changes continued, but cultures and arts underwent new changes. In particular. the Northern Dynasties, whose regime was controlled by a non-Han Dynasty, saw the new non-Han culture converged into the Han culture. allowing the existing culture to be newly interpreted and recreated, and thus forming a new culture. "Monster Images", the subject of this study, were a popular painting genre in the period of the Southern and Northern Dynasties, making them a key subject matter of ancient mural and buddhist arts in those days.
"Monster Images" have a unique shape showing a monstrous head and an upright human body. They have sturdy muscles and a beast's claws. as well as characteristically long manes spread prominently like wings from the shoulders to the arms. A representative monster image was described in the epitaph tablet for lady Yuan dating back to 522 of the Northern Wei Dynasty. This image frequently appears in memorial tombstones, epitaphs, stone coffin beds, mural paintings, and buddhist cave temples. This study examines the social backgrounds to and cultures of the periods when monster images were massively crafted, in a bid to explore their origin and symbolism.
After the Northern Wei Dynasty relocated its capital to Luoyang, "Monster Images" were massively crafted and popular, encompassing a range of formative and cultural elements. "Monster Images" feature a traditional Chinese Pushou and sturdy muscles while wearing only a pair of pants, thereby resembling an "Athletics Images" described in Central-Asia and buddhist statues. Also, the traditional "Strong Man Images" can be seen in ancient Chinese literature and relics, and they had strong power enough to lift and move mountains. The paintings of the combination of these buddhist athletics images and the traditional strong man images assumed the function of exorcising evil spirits. After the Luoyang Period of Northern Wei, tradition and new cultures blended together, thus creating the trend of crafting unique Chinese styles. Monster Images achieved a formative perfection between the late period of the East Han Dynasty and the period of the Southern and Northern Dynasties, were reinterpreted during the period of Luoyang of the Northern Wei Dynasty, and afterwards was greatly popular in the Northern Dynasties.
The fierce-looking monster images were recreated into heavenly deities and athletics images in ancient tomb and buddhist arts in the Northern Dynasty. Described in memorial tomb stones and tomb chambers of ancient tombs, and in the ceilings of buddhist cave temples, monster images assumed the images of divine monsters, which symbolized the link between the celestial world and the terrestrial world. Monster Images, which were described in the stone coffin beds and at the bottoms of niche for a statue of buddha, defended the tomb-owner, and protected the buddha dharma. They were regarded as holy and auspicious beings, defending the sanctuaries.
The "Monster Images" reduced remarkably in number in the periods of Sui and Tang Dynasties. This change is presumably attributable to the systemization of buddhism, and afterwards, the monster images influenced tomb-defending animals such as Zhenmushou and Buddhist Lokapala. However, the monster images' function of casting auspicious spirits was still widely used in decorative designs, and played an important part of ancient tomb arts and buddhist arts in East Asia.
"Monster Images" have a unique shape showing a monstrous head and an upright human body. They have sturdy muscles and a beast's claws. as well as characteristically long manes spread prominently like wings from the shoulders to the arms. A representative monster image was described in the epitaph tablet for lady Yuan dating back to 522 of the Northern Wei Dynasty. This image frequently appears in memorial tombstones, epitaphs, stone coffin beds, mural paintings, and buddhist cave temples. This study examines the social backgrounds to and cultures of the periods when monster images were massively crafted, in a bid to explore their origin and symbolism.
After the Northern Wei Dynasty relocated its capital to Luoyang, "Monster Images" were massively crafted and popular, encompassing a range of formative and cultural elements. "Monster Images" feature a traditional Chinese Pushou and sturdy muscles while wearing only a pair of pants, thereby resembling an "Athletics Images" described in Central-Asia and buddhist statues. Also, the traditional "Strong Man Images" can be seen in ancient Chinese literature and relics, and they had strong power enough to lift and move mountains. The paintings of the combination of these buddhist athletics images and the traditional strong man images assumed the function of exorcising evil spirits. After the Luoyang Period of Northern Wei, tradition and new cultures blended together, thus creating the trend of crafting unique Chinese styles. Monster Images achieved a formative perfection between the late period of the East Han Dynasty and the period of the Southern and Northern Dynasties, were reinterpreted during the period of Luoyang of the Northern Wei Dynasty, and afterwards was greatly popular in the Northern Dynasties.
The fierce-looking monster images were recreated into heavenly deities and athletics images in ancient tomb and buddhist arts in the Northern Dynasty. Described in memorial tomb stones and tomb chambers of ancient tombs, and in the ceilings of buddhist cave temples, monster images assumed the images of divine monsters, which symbolized the link between the celestial world and the terrestrial world. Monster Images, which were described in the stone coffin beds and at the bottoms of niche for a statue of buddha, defended the tomb-owner, and protected the buddha dharma. They were regarded as holy and auspicious beings, defending the sanctuaries.
The "Monster Images" reduced remarkably in number in the periods of Sui and Tang Dynasties. This change is presumably attributable to the systemization of buddhism, and afterwards, the monster images influenced tomb-defending animals such as Zhenmushou and Buddhist Lokapala. However, the monster images' function of casting auspicious spirits was still widely used in decorative designs, and played an important part of ancient tomb arts and buddhist arts in East Asia.
목차
Ⅰ. 머리말
Ⅱ. 외수상의 시대적 양상
Ⅲ. 외수상의 연원에 관한 諸問題
Ⅳ. 외수상의 시대적 특성과 성행
Ⅴ. 외수상이 지닌 상징적 의미
Ⅵ. 맺음말
참고문헌
ABSTRACT
참고문헌 (42)
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