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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 저널정보
- 한복문화학회 한복문화 韓服文化 第17卷 2號
- 발행연도
- 2014.4
- 수록면
- 87 - 103 (17page)
- DOI
- 10.16885/jktc.2014.04.17.2.87
이용수
초록· 키워드
오류제보하기
The enshrined deposits sealed in Buddhist statues during the dedication rites were made in accordance with the five directions on the basis of the yin/yang and the five elements paradigm. The Huryeongtong is the main content, and is a case that contains Obobyeong. Obobyeong is a kind of wrapping clothes that symbolizes the Five Directions. Objects indicating different directions are put inside each Obobyeong. Among them, vajra, ritual flag, canopies, and aromatic leaf from Bo tree used five-colored textiles or paper. This study will help enhance the reader’s understanding of the five directional colors, and the differences within the ranges of the five colors in different periods. The colors we found were as follows.
East: blue, the pure color representing the east. We also found light-blue, green, and bluish-green. South: red, the pure color representing the south. We also found scarlet, and in the Sudeok temple deposit, light violet. West: white, the pure color representing the west. We also found light yellow. North: pure black, the pure color representing the north, was found only in the Buddhist image at the Haein temple. Generally, we found a bluish or purplish black. Purple was used in the deposit in the main Buddha image at the Samgil temple. Center: Pure yellow, the pure color representing the center, was found in the deposit at the royal Haein temple. Usually the deposited textiles indicating the center were shades of yellow; however, there were some exceptions. Some textiles indicating the center included textiles with a yellow pattern on a red ground, a golden pattern on a yellow ground, and plaid patterns in five colors. In addition, green was used to indicate the center at the Samgil temple. Diverse and high-quality colorful textiles were often used to indicate the central cardinal point. From this, we can deduce that the center was considered to be a symbol of the highest authority and dignity.
East: blue, the pure color representing the east. We also found light-blue, green, and bluish-green. South: red, the pure color representing the south. We also found scarlet, and in the Sudeok temple deposit, light violet. West: white, the pure color representing the west. We also found light yellow. North: pure black, the pure color representing the north, was found only in the Buddhist image at the Haein temple. Generally, we found a bluish or purplish black. Purple was used in the deposit in the main Buddha image at the Samgil temple. Center: Pure yellow, the pure color representing the center, was found in the deposit at the royal Haein temple. Usually the deposited textiles indicating the center were shades of yellow; however, there were some exceptions. Some textiles indicating the center included textiles with a yellow pattern on a red ground, a golden pattern on a yellow ground, and plaid patterns in five colors. In addition, green was used to indicate the center at the Samgil temple. Diverse and high-quality colorful textiles were often used to indicate the central cardinal point. From this, we can deduce that the center was considered to be a symbol of the highest authority and dignity.
목차
〈Abstract〉
Ⅰ. 서론
Ⅱ. 후령통의 구성과 오방위 표식
Ⅲ. 시대별 불복장의 오방색
Ⅳ. 결론
참고문헌
참고문헌 (18)
참고문헌 신청
1. [학위논문] - 이선용 / 2006 / 불복장물 구성과 직물에 관한 연구 / 석사 / 동국대학교 대학원
2. [학술지(정기간행물)] - 문명대 / 2010 / 조각승 혜희(慧熙)의 작품세계와 부산 금정사 봉안 용문사(龍門寺) 목 아미타불상의 복원적(三世佛像)연구 / 강좌미술사 34 (34) : 83 ~ 108
3. [보고서] - 정은우 / 2010 / 천성산 관음사 목조보살좌상의 특징과 의의 : 57 ~ 71
4. [학위논문] - 송은석 / 2007 / 17세기 조선왕조의 조각승과 불상 / 박사 / 서울대학교 대학원
5. [단행본] - 박상국 / 2007 / 수국사 목 아미타불상의 복장 전적 / 한국미술사연구소 : 29 ~ 40
2. [학술지(정기간행물)] - 문명대 / 2010 / 조각승 혜희(慧熙)의 작품세계와 부산 금정사 봉안 용문사(龍門寺) 목 아미타불상의 복원적(三世佛像)연구 / 강좌미술사 34 (34) : 83 ~ 108
3. [보고서] - 정은우 / 2010 / 천성산 관음사 목조보살좌상의 특징과 의의 : 57 ~ 71
4. [학위논문] - 송은석 / 2007 / 17세기 조선왕조의 조각승과 불상 / 박사 / 서울대학교 대학원
5. [단행본] - 박상국 / 2007 / 수국사 목 아미타불상의 복장 전적 / 한국미술사연구소 : 29 ~ 40
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