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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 저널정보
- 미술사연구회 미술사연구 미술사연구 제34·35호
- 발행연도
- 2018.12
- 수록면
- 153 - 192 (40page)
- DOI
- 10.52799/JAH.2018.12.34_35.153
이용수
초록· 키워드
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The late Goryeo period is defined as lasting from 1270, when Goryeo’s fierce war with the Mongols ended and the country’s royal court returned to the capital, Gaegyeong, to the fall of the Goryeo dynasty in 1392. A large number of Buddha statues was produced during this period, due to active financing of Buddhist ceremonies by the royal court, the official classes and the general public; the development of temple-based economies; and the development of the ideology of “merit and virtue” (功德). So far, approximately 140 statues – a relatively large number – have been discovered, including examples dating from the Goryeo-Joseon transition period.
The late Goryeo period was marked by close political, economic and cultural ties between Goryeo and Yuan, including ongoing marriage between the royal and imperial families, the arrival of Lamaist Yuan monks in Goryeo, and the financing of Buddhist ceremonies at Jangansa Temple at Mt. Geumgang by Empress Gi. Despite this, most Goryeo Buddha statues from this time continue the stylistic traditions of earlier Goryeo.
This study focuses on the background to and characteristics of extant late-Goryeo gilt bronze Buddha statues that originated in the northern Goryeo region that is now North Korea. Currently, approximately nine such Buddha statues have been identified as originating from this area; most of these are made of gilt bronze. In terms of region, three of the nine statues are from today’s Pyongan-do Province, which corresponds to Goryeo’s Bukgye region, while five are from Hwanghae-do Province, corresponding to Goryeo’s Seohae-do region, and one from today’s Gangwon-do region: all of these areas are located to the north of the Goryeo capital, Gaegyeong.
In terms of form, these statues show characteristics typical of the late-Goryeo period, such as the byeonhyeong tonggyeon (變形通肩) samghati configuration, whereby the main robe is draped over both shoulders and an additional robe in a half-moon shape is placed over the right shoulder. They are particularly similar in terms of style to two Buddha statues produced in 1346 in today’s Chungcheong-do Province: the seated gilt bronze Bhaisajyaguru (Medicine Buddha) at Janggoksa Temple in Cheongyang and the seated gilt bronze Amitabha Buddha at Munsusa Temple in Seosan. These two statues are the same as the northern Goryeo Buddhas in terms of the balanced proportions of their faces and bodies, their slender faces and mild expressions, and the way they sit upright, facing forward. They also show similarities to 14th-century gilt bronze Buddha statues in terms of stylistic detail, including the elaborate belt knots on their bellies, the ornamental gold pins used to fix their undergarments on the left side of their chests, and the round folds formed on both their knees. This tells us that the northern Goryeo Buddhas share formal characteristics with the Buddhas at Janggoksa and Munsusa, which are known to have been produced in the mid-14th century.
These characteristics differ distinctly from those of statues produced before the 14th century, such as the seated wooden Amitabha Buddhas at Gaeunsa Temple in Seoul (restored in 1274) and at Gaesimsa Temple in Seosan (restored in 1280). Features of the latter include postures in which the upper body appears to lean forward, full faces, and complex robe creases. However, the northern Goryeo Buddhas are presumed to have been produced in theearly 14th century, before those at Janggoksa and Munsusa, because of their relatively large sizes, dignified postures and finer level of detail.
The characteristics of the northern Goryeo Buddha statues that originate can be seen as naturalized manifestations of elements generally introduced from the Liao Dynasty (916~1125) in the mid-Goryeo period. As shown by the molded statues of the Buddhas of the Three Worlds at the lower monastery at Huayan Temple in Datong, Shanxi Province, China, and the seated gilt bronze Amitabha Buddha housed at the Nelson Gallery of Art in the United States, the northern Goryeo Buddhas essentially show Goryeo-style transformations of Liao Buddha statue elements contemporary with the mid-Goryeo period. The northern Goryeo Buddhas actually reflect these elements more strongly; I judge this to be because northern Goryeo was traditionally adjacent to Liao and Jin (1115~1234) and would therefore have been more strongly influenced by culture from these two Chinese dynasties entering Goryeo, and because these sculptural traditions were continued into the late Goryeo period.
The late Goryeo period was marked by close political, economic and cultural ties between Goryeo and Yuan, including ongoing marriage between the royal and imperial families, the arrival of Lamaist Yuan monks in Goryeo, and the financing of Buddhist ceremonies at Jangansa Temple at Mt. Geumgang by Empress Gi. Despite this, most Goryeo Buddha statues from this time continue the stylistic traditions of earlier Goryeo.
This study focuses on the background to and characteristics of extant late-Goryeo gilt bronze Buddha statues that originated in the northern Goryeo region that is now North Korea. Currently, approximately nine such Buddha statues have been identified as originating from this area; most of these are made of gilt bronze. In terms of region, three of the nine statues are from today’s Pyongan-do Province, which corresponds to Goryeo’s Bukgye region, while five are from Hwanghae-do Province, corresponding to Goryeo’s Seohae-do region, and one from today’s Gangwon-do region: all of these areas are located to the north of the Goryeo capital, Gaegyeong.
In terms of form, these statues show characteristics typical of the late-Goryeo period, such as the byeonhyeong tonggyeon (變形通肩) samghati configuration, whereby the main robe is draped over both shoulders and an additional robe in a half-moon shape is placed over the right shoulder. They are particularly similar in terms of style to two Buddha statues produced in 1346 in today’s Chungcheong-do Province: the seated gilt bronze Bhaisajyaguru (Medicine Buddha) at Janggoksa Temple in Cheongyang and the seated gilt bronze Amitabha Buddha at Munsusa Temple in Seosan. These two statues are the same as the northern Goryeo Buddhas in terms of the balanced proportions of their faces and bodies, their slender faces and mild expressions, and the way they sit upright, facing forward. They also show similarities to 14th-century gilt bronze Buddha statues in terms of stylistic detail, including the elaborate belt knots on their bellies, the ornamental gold pins used to fix their undergarments on the left side of their chests, and the round folds formed on both their knees. This tells us that the northern Goryeo Buddhas share formal characteristics with the Buddhas at Janggoksa and Munsusa, which are known to have been produced in the mid-14th century.
These characteristics differ distinctly from those of statues produced before the 14th century, such as the seated wooden Amitabha Buddhas at Gaeunsa Temple in Seoul (restored in 1274) and at Gaesimsa Temple in Seosan (restored in 1280). Features of the latter include postures in which the upper body appears to lean forward, full faces, and complex robe creases. However, the northern Goryeo Buddhas are presumed to have been produced in theearly 14th century, before those at Janggoksa and Munsusa, because of their relatively large sizes, dignified postures and finer level of detail.
The characteristics of the northern Goryeo Buddha statues that originate can be seen as naturalized manifestations of elements generally introduced from the Liao Dynasty (916~1125) in the mid-Goryeo period. As shown by the molded statues of the Buddhas of the Three Worlds at the lower monastery at Huayan Temple in Datong, Shanxi Province, China, and the seated gilt bronze Amitabha Buddha housed at the Nelson Gallery of Art in the United States, the northern Goryeo Buddhas essentially show Goryeo-style transformations of Liao Buddha statue elements contemporary with the mid-Goryeo period. The northern Goryeo Buddhas actually reflect these elements more strongly; I judge this to be because northern Goryeo was traditionally adjacent to Liao and Jin (1115~1234) and would therefore have been more strongly influenced by culture from these two Chinese dynasties entering Goryeo, and because these sculptural traditions were continued into the late Goryeo period.
목차
Ⅰ. 머리말
Ⅱ. 북한지역 고려 후기 금동불의 현황과 특징
Ⅲ. 유형분류 및 제작시기 고찰
Ⅳ. 북방적 요소와 교통로
Ⅴ. 맺음말
참고문헌
〈Abstract〉
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