화엄종 관행문에서 화엄삼매의 의미와 수행

박공주 한국불교선리연구원 2018 禪文化硏究 Vol.25 No.-

In Hua-yan School, the ocean-reflection meditation and the flower-ornament meditation are most important among various meditations in Avataṃsaka Sūtra. The ocean-reflection meditation is the background meditation representing Avataṃsaka Sūtra and corresponds to the basis of Hua-yan doctrinal teachings, so that the ocean-reflection meditation can be located on the top. The flower-ornament meditation has been mainly mentioned as the practice of bodhisattva in relation with the practice of vipaśyanā. However, traditional studies have mainly explained the flower-ornament meditation only in the viewpoint of Hua-yan doctrinal teachings, so the true aspects of the practice and the practical meaning included deeply in the flower-ornament meditation have not been fully understood, instead they have been quite neglected. As the results of investigations into the interpretations on the flower-ornament meditation in the commentaries on Avataṃsaka Sūtra of Hua-yan masters such as Chihyan, Fazang, and Chengguan, the flower-ornament meditation is the Buddha’s meditation emerging in both cause and effect, and it is the bodhisattva’s meditation signalling the achievement of the stage of attainment as bodhisattva-practice. That is, the flower-ornament meditation is the key in two states. Also, in the practice criteria, the flower-ornament meditation is understood as the practice surpassing the stage of practice, that is, the practice of unhindered, complete freedom without any hindrance. Whereas the flower-ornament meditation in Avataṃsaka Sūtra represents mainly the practice of bodhisattva and the achievement of practice, apologetic analyses on Dependent origination of the Dharma realm in Hua-yan vipaśyanā are given to the flower-ornament meditation. The flower-ornament meditation, emphasized as the practice of unhindered, complete freedom without any hindrance, can be interpreted as vipaśyanā on the dharma world of shih-shih-wu-ai. Also, the emphasis on practice in the flower-ornament meditation has been discussed to show non-duality of substance and function. Hence, the flower ornament meditation of Hua-yan School provides thorough theoretical basis on bodhisattva-practice. At the same time, the flower ornament meditation is the practical expedient for understanding and acquiring the Dharma realm of Hua-yan School. In such viewpoint, the flower ornament meditation portrays behaviors in the reality. 화엄종(華嚴宗)에서는 『화엄경(華嚴經)』에 나오는 여러 삼매 가운데 해인삼매(海印三昧)와 화엄삼매(華嚴三昧)를 중시한다. 해인삼매는 『화엄경』을 관통하는 총정(總定)이자 화엄교학의 토대로 자리매김하며 그 위상이 강조되고, 화엄삼매는 보살의 실천으로서 관행과 관련하여 주로 언급된다. 그런데 삼매가 삼매인 이상 수행이라는 맥락과 밀접한 관련이 있음에도 불구하고 경전의 핵심내용을 담아내는 과정에서 또, 교학적인 해석이 가미되며 수행의 실천적인 측면들이 희석된 경향이 있다. 특히 관행문에서 다루어지는 화엄삼매에서조차 화엄삼매자체에 담겨진 수행과 실천적 의미는 드러나지 못하고 간과된 측면이 있다. 지엄(智儼), 법장(法藏), 징관(澄觀) 등 화엄교학자들이 『화엄경』주석서에서 화엄삼매를 해석하는 내용을 살펴본 결과, 화엄삼매는 인과(因果)를 통틀어 나타내는 삼매로서 불(佛)의 삼매이자, 보살의 인행(因行)으로써 과상(果相)을 성취하여 나타내는 보살의 삼매이기도 하여 두 가지 지위에 모두 통한다. 업용의 측면에서 화엄삼매는 화엄의 법을 설함과 화엄의 행을 나타내고 있어 법에 대한 이해와 실천을 아우르고 있다. 『화엄경』에서의 화엄삼매가 주로 보살의 수행과 수행의 성취를 나타내고 있는데 반해, 관행문에서는 화엄삼매에 법계연기(法界緣起)에 대한 규명과 교학적인 해석들이 부여된다. 하지만 이와 같은 연기에 대한 바른 이해[解]의 강조는 실천 수행[行]이 올바른 관점이나 바른 이해 위에 이루어지는 실천이라는 것을 역설하기 위함으로 볼 수 있다. 법계연기에 대한 이해와 관찰에 의해 화엄삼매에 도달할 수 있으며 또한 화엄삼매를 통해 중생을 위한 지혜와 자비의 행이 펼쳐지며 더 큰 법계연기의 세계에 들어가기 때문이다. 즉, 화엄종은 화엄삼매를 통해 보살의 실천에 대한 화엄교학의 이론적 근거를 제공함과 동시에 화엄의 법계를 이해하고 증득할 수 있는 실천적 수단이자 그러한 관점의 실재에서의 행위를 나타내고자 한 것이다.

백제 ‘은화관식’의 형상과 정치적 성격 검증

오은석 동아시아고대학회 2014 동아시아고대학 Vol.0 No.35

‘銀花冠飾’은 흔히 백제에서 率系 관료의 관모에 착장하는 장신구이자 일종의 정치적 표지인 銀花로 일컬어지 고 있다. 그런데 ‘은화관식’으로 지칭되는 대상물이 백제 당시의 銀花인지는 확언할 수는 없다. 이는 유물인 ‘은 화관식’을 기록의 銀花라고 구체적으로 명시한 증거는 없기 때문이다. 따라서 본고는 ‘은화관식’이 기록의 銀 花에, 형상과 정치적 성격이 부합하는지 검증해보았다. 이 검증에는 3가지 의문점으로 이루어졌다. 첫째는 기록의 金花로 지칭하는 무령왕의 금제관식과 기록의 銀花 로 지칭하는 ‘은화관식’은 그 출현시기와 형식학적인 면에서 차이가 크다는 점이다. 둘째, 기록을 통해 보았을 때 비교적 많은 관료가 銀花를 착용했을 것으로 추정되지만 ‘은화관식’은 1938년 첫 발견 이후 70여년 넘게 불 과 13점만 발견된 현상이다. 셋째는 ‘은화관식’이 관등을 드러내는 표지이며 정치적 성격을 내포하고 있다면 미륵사지 석탑 심초석 사리공에서 발견된 ‘은화관식’과 같이, 공양품으로 처분이 가능했을까하는 점이다. 이 3가지 의문을 중심으로 ‘은화관식’의 형상과 내재된 성격을 재검토해본 결과, ‘은화관식’은 꽃의 형상이 아 닌 나무의 형상을 가지고 있으며 따라서 외형상 ‘은화관식’은 기록의 銀花로 볼 수 없었다. 그리고 ‘은화관식’은 정치적 성격이 내재되어 있기 보다는 무덤 부장품의 성격이 짙고 私的으로 제작한 것으로 볼 수 있으며, 7세기 에 들어서는 私的인 기원의 상징물로도 부장되었다. 검증 결과 ‘은화관식’은 형상으로나 내재된 성격으로나 기록의 銀花로 볼 수 없었다. 銀花는 아직까지 발견되 지 않았으며 ‘은화관식’은 그 소재와 형태적 특징에 부합하는 명칭인 銀製 樹形 冠飾으로 부르고자 제안한다. The Silver Flower-Shaped Hat Ornament' was an accessory that decorated the official hat of a bureaucrat in a Sol-group position in Baekje. It is also known as the Silver Flower, which is seen in political signs. However, these terms may not be interchangeable as no definite evidence could prove the relation between 'the Silver Flower-Shaped Hat Ornament' and the Silver Flower. Therefore, this study will attempt to verify whether the shape and role in politics of 'the Silver Flower-Shaped Hat Ornament' coincide with those of the Silver Flower by examining available historical records. Three doubtful points have been noted on the relation between the Silver Flower and 'the Silver Flower- Shaped Hat Ornament'. The first is related to the differences between King Muryeong's Gold Diadem Ornament and 'the Silver Flower-Shaped Hat Ornament'. These two items bear significant differences in their period of appearance and form. Second, according to the records, most bureaucrats wore the Silver Flower in the past, but only 13 'the Silver Flower-Shaped Hat Ornament' pieces have been found since the first of its kind was discovered in 1938. Third, if 'the Silver Flower-Shaped Hat Ornament' indicated an official rank and had a political character, it could be treated as one of the goods offered to Buddha, such as the one discovered in the sarira hole for enshrinement in the foundation stone at the stone pagoda of Mireuksa Temple. After considering the three issues stated above, I reached the following conclusions. First, 'the Silver Flower-Shaped Hat Ornament' has an appearance that is more similar to a tree than a flower, which indicates that its shape is contradictory to that of the Silver Flower described in historical records. Second, 'the Silver Flower-Shaped Hat Ornament' was treated as a type of grave goods rather than an object with political purposes. 'the Silver Flower-Shaped Hat Ornament' was made personally, and it was also treated as a type of grave goods to wish someone luck in the 7th century. in sum, 'the Silver Flower-Shaped Hat Ornament' hardly refers to the Silver Flower because they are different in various ways. They were created ofr different purposes, and even their shapes are dissimilar. The study concludes that a Silver Flower specimen has never been found. Further, in consideration of its material and shape, 'the Silver Flower-Shaped Hat Ornament' may be renamed as Silver Tree-Shaped Hat Ornament.

백제 金花 冠飾: 가시화된 세계수

이송란 한국미술사교육학회 2019 美術史學 Vol.- No.38

This study investigated the meanings and characteristics of the gold flowershaped icon decorated on a hat by the king and the silver flower-shaped icon applied to the government seal of an official higher than the 6th rank. It has been hard to associate the gold flower-shaped diadem ornaments excavated from the Tomb of King Muryeong in Gongju with the silver flower-shaped diadem ornaments mainly excavated from the Sabi’s horizontally-buried stone chamber tombs because the time of the first appearance differed. This study investigated the meanings and perceptions of the Baekje people’s embodiment of diadem ornaments with flowers from the perspective of King and Queen Muryeong’s gold flower-shaped diadem ornaments and silver flower-shaped diadem ornaments as gold flower-shaped and silver flower-shaped ones in the literature. As for King Muryeong’s composition of gold flower-shaped patterns consisting of lotus flower, palmette, and grape, the route of acceptance to Goguryeo and Northern Dynasties via West Asia and Central Asia was found out, unlike the existing understanding of that as an influence of Southern Dynasties of China. The queen’s gold flower was made up of a motif of Yeonhwa-hwasaeng (Self-born on the lotus leaf) in which lotus flower and palmette are born in the vase, and through this it was noted that palmette and lotus flower were accepted as symbols of light and life as in West Asia. This study discussed gold flower and silver flower, combining them with the shape of a mountain as a way of seeing them newly. Combined with the mountain, gold flower and silver flower did not mean simple flowers but were understood as a tree, that is, a world tree. In Baekje, the wood-worship religion that worships trees had been the Three Han States period. The world tree is the central axis of space, defined as a path on which life force ascends, and the deity of the sky descends. The gold flower and silver flower symbolizing the world tree are understood as the visualization of the central class of Baekje, who can communicate with the sky and can enjoy abundance by putting on them.In the field of art history, “originality” has long been an important issue. A theoretical examination of the creativity of art has been taken mainly in aesthetics rather than in art history. 이 글에서는 왕이 모자에 장식한 금화와 6 품 이상의 관인에 적용된 은화의 도상의의미와 성격에 대해서 살펴보았다. 공주 무령왕릉의 금화관식과 사비의 횡혈식 석실묘에서 주로 출토되는 은화 관식을 연동하여 보기 어려웠던 점은 처음 등장하는 시점이달라서이다. 무령왕과 왕비의 금화관식과 은화관식이 문헌의 금화와 은화이라고 보는관점에서 백제인들이 관식을 꽃으로 형상화한 의미와 인식을 살펴보았다. 무령왕의 연화와 팔메트, 그리고 포도로 구성된 금화의 문양구성은 그간 단순히 중국 남조의 영향으로 이해되었던 것과는 달리 서아시아와 중앙아시아를 경유하여 고구려와 북조에 수용되었던 경로가 파악되었다. 왕비의 금화는 현병에서 연화와 팔메트가탄생하는 연화화생의 모티브로 구성되었는데, 이를 통하여 팔메트와 연화가 서아시아에서와 같이 광명과 생명의 상징으로 수용된 것을 알 수 있었다. 금화와 은화를 새롭게 보는 방법으로 산이라는 조형과 결합하여 고찰하였다. 산과결합하여 볼 때 금화와 은화가 의미하는 것은 단순한 꽃이 아니라 나무, 즉 세계수의 개념으로 파악하였다. 백제에서 나무를 숭배하는 수목신앙은 삼한시대부터 구축되어 있었다. 세계수는 우주의 중심축으로서 생명력이 위로 상승하고 하늘의 신령함이 하강하는 통로로 규정된다. 세계수를 상징하는 금화와 은화는 하늘과 소통할 수 있고 이를 착용한 사람은 풍요를 누릴 수 있는 백제의 중심 계층임을 시각적으로 가시화한 것으로이해된다.

조선시대 미술에 나타난 ‘낭화문(浪花紋)’ 연구

김주연 미술사학연구회 2009 美術史學報 Vol.- No.32

In Chosun Dynasty arts the scale shape of flower water patterns accompanied with white bubble were shown in many genre of the ornaments. I named these white scale of water bubble patterns as “flower of water pattern” and studied their aspects, lineages and significances. The configuration and designation in naming of “flower of water pattern” was influenced by the literature of Oh Ja-Seo(伍子胥, ?~B.C.484) of Chu Dynasty(楚) who became a sprit of wave of Jeon-Dang(錢塘江) river in myth during the Spring and Autumn Period(春秋時代), and Li Pai(李白, 701-762) of Tang Dynasty who named waves as “white water”. Additionally, the expression of “flower of water” appeared in Tu Fu’s(杜甫, 712-770) poetries. The image of “flower of water”, which appeared in many literatures of Chosun Dynasty, must had been influenced by Tu Fu’s poetries, and it is assumed that “flower of water” was a common language for image of strong torrent water flow. Therefore, it would be no problem to be named as “flower of water pattern.” It also could be found in the “Ancient Jade Design Catalogue”(『古玉圖譜』) which revealed designs of many jade antiquities from chu(周代) to Tang dynasties(唐代). This catalogue was published by direct order of Hyojong Emperor(孝宗) in South Song Dynasty(南宋) and republished in Qianlong Emperor(乾隆) in Qing Dynasty(淸, 1773). However, it is not known whether the catalogue was modified, but it is a rare book in the emperor’s storage that could not modify a composition without historical evidences. The “flower of water” could be found in designs of emperor’s plates recorded in Chu Dynasty, although, it is not definitely confirmed because of lack of existing relics. Nevertheless, it is certain that this literature was recorded a image of Chu Dynasty which was attached importance to Song Dynasty. It is assumed through a writing of Su Tung-Po(蘇軾, 1037년~1101년) regarding a painter Sun Wei(孫位) that “flower of water” was described vividly in the black-and-white drawings. This “flower of water pattern” was continuously discovered in the imperial clothes and relics until end of Qing Dynasty. It is confirmed that we have called a bubble of water flow as “flower of water” and used the patterns since Goryeo Period. Its shape of thinly spreads with various direction is definitely different from Chosun Dynasty, but it is very similar with the water patterns of Song(宋) and Yuan(元) Dynasties. The “flower water pattern” was appeared as an important position of ornament in royal court arts of Chosun Dynasty. This pattern style was connected to those days of Ming(明) and Qing Dynasties, however, reappearances of designs of emperor’s plates as in the “Ancient Jade Design Catalogue”, it would be implied in a profound political relationship between Chosun Dynasty and Chu Dynasty. The scholars of Chosun Dynasty believed that it was an actual image of Chu Dynasty even without existing relics. The “flower of water pattern” was shown in the imperial court arts and common arts in China, but it was only appeared in the royal court ornaments in the Chosun Dynasty. It was a motive of revival of magnificent water which could not be easily approached by commoners. It was inscribed with Sun, Moon, Stars, Mountain, Dragon in the twelve symbols of emperor’s ritual robe, and its inscription exhibited a revival of past. Consequently, it is be worthy of note to the connection of these symbols. Even it is excluded in this research, the “flower of water pattern” was widely used in Japan, hence, it is a traditional common pattern among the arts of China, Korea and Japan.

백제(百濟) 의관제(衣冠制)의 정비시기 검토 -은화관식(銀花冠飾)과 금동관모(金銅冠帽)를 중심으로-

나용재 ( Na Yong-jae ) 단국사학회 2016 史學志 Vol.53 No.-

백제 의관제의 정비시기를 추정함에 있어 은화관식과 금동관모는 각각 하한과 상한 시점을 알려주는 유용한 자료이다. 현재까지 발견된 은화관식은 모두 축조연대가 6세기 중반 이후로 편년되는 유구에서 출토되었음을 알 수 있다. 그러나 은화관식은 매납용으로 제작된 것이 아닌, 실제 사용되었던 것으로서 유구의 추정연대와 일정한 차이가 발생하는 성격의 자료임이 확인된다. 이를 착용할 수 있는 率系 관등 관인들의 기대수명 및 동시에 규정되었을 것으로 판단되는 국왕의 금화관식이 무령왕릉 출토 금제관식과 관련됨을 고려하면, 은화관식 규정이 포함된 백제의관제의 정비시기 하한은 적어도 6세기 초반으로 이해된다. 반면 백제의 금동관모는 지금까지 확인된 자료들의 추정 연대가 5세기 후반을 넘지 않으며, 출토지 역시 한성과는 거리가 있는 지방임을 알 수 있다. 금동관모는 5세기 후반까지 백제 중앙에 의해 재지수장층에게 사여된 것으로서 관등제에 의거하였던 백제 의관제에 선행하는 용품인 것으로 이해된다. 즉 금동관모의 제작과 사여가 중단되는 5세기 후반은 지방에 대한 지배력이 강화되었음과 동시에 관등제의 정비가 이루어져 이에 기반한 일원화된 의관제가 정비된 시기의 상한으로 볼 수 있다. In estimating the period of final institutionalization of Baekje attire system, silver flower-shaped diadem ornaments and gilt-bronze crown are useful materials as they can inform us the upper limit and lower limit of their timing. Judging from the date of their discovery, all of the silver flower-shaped diadem ornaments discovered so far were unearthed from artifacts that have been manufactured after the middle of the 6th century. However, the one unearthed from the stone pagoda of Mireuksa-ji site, trace of repairing was ascertained. This suggests that the unearthed silver flower-shaped diadem ornaments were manufactured not for the purpose of burying but for actual use, hinting that there is a certain time difference in-between these ornaments and other artifacts unearthed in terms of estimated date. When judging from expected life span of Sol-group rank officials who could have used these ornaments in Baekje together with the fact that gold flower-shaped diadem ornaments of a king that is considered as having been regulated at the same time with silver flower-shaped diadem ornaments is related with gold flowershaped diadem ornaments that have been unearthed from the tomb of King Mureong, the lower time limit of final institutionalization of Baekje attire system, which included regulations on silver flower shaped diadem ornaments, can be drawn around the early part of the 6th century at the latest. Estimated date of Gilt-bronze crowns of Baekje so far ascertained do not go beyond the second half of the 5th century, and the places of their unearthing were all at some distance from Hanseong, the center of Baekje. As a result of analysis based on these facts, gilt bronze crowns are ascertained that they had nothing to do with the central government organization of Baekje or direct local control system thereof as the feudal lords, chieftains or heads of Damno. Gilt bronze crowns of Baekje were the one that were bestowed to local chiefs until the second half of the 5th century by the central government of Baekje, which preceded attire system of Baekje that relied on official rank system. In this regard, the latter half of the 5th century when manufacture and bestowing of gilt-bronze crowns seem to have been suspended was a time when control over local areas was reinforced and the rank system was introduced in earnest, can be regarded as the upper time limit of final institutionalization of a systematic attire system that backed it.

Evaluation of Postharvest Cut Flower Characteristics of a New Ornamental Crop known as Euphorbia jolkinii Boiss.

Hye Jin Oh,Un Seop Shin,Jong Suk Lee,Sang Yong Kim,,Seung Youn Lee 한국화훼학회 2018 화훼연구 Vol.26 No.3

본 연구는 기존에 재배된 바 없었던 암대극을 새로운 관상식물로 개발하고자, 절화 특성 평가를 실시하였다. 2017년 3월과 4월, 제주도에 자생하고 있는 암대극을 채취한 후, 수분흡수, 절화수명, 노화 과정 등 절화수명 특성을 평가하였다. 또한 sucrose 농도, 절화길이, pH 농도, 저장온도에 따른 절화 특성을 조사하였다. 본 실험은 국립수목원 유용식물증식센터의 Phyto-garden system(12h photoperiod, 25℃, 70% RH)과 실온(23℃, 44% RH)에서 수행하였고 2~3일 간격으로 수분흡수량, 생체중, 절화수명을 측정하였다. 실험 환경에 따른 연구에서 실온(14.4일) 보다 phyto-garden system(42.4일)의 절화 수명이 약 3배 더 길었고, 절화길이에 따른 연구에서는 절화수명이 20cm, 15.2일, 40cm, 17.4일로 나타났다. Sucrose 농도에 따른 연구에서는 처리에 따른 절화수명 증진 효과는 없었고, pH에 따른 연구의 절화수명은 pH 5, 15.6일, pH 6, 13.4일, pH 7, 13.1일, 증류수, 14.8일이었다. 저장온도에 따른 실험에서, 절화수명은 4℃, 83일, 10℃, 41.2일, 15℃, 35.5 일, 20℃, 17.4일, 실온, 14.4일이었는데, 온도가 감소할수록 절화수명이 길어짐을 알 수 있었다. 결론적으로, 암대극은 비교적 광도와 습도가 높은 환경과 절화길이가 길고 저장온도가 낮을수록 수명이 오래 유지되는 것을 알 수 있었다. With the aim of developing E. jolkinii Boiss as a new ornamental crop, its cut flower characteristics were evaluated. After harvesting, in March and April of 2017, we evaluated water uptake, vase life, and the aging process, and investigated the effects of experimental place, length of cut flower, sucrose concentration, pH, and storage temperature, and assessed the aging process and experimental location. Experiments were carried out in a phyto-garden system (296μmol·m-2·s-1, 25°C, 70% RH) and in a laboratory (8μmol·m-2·s-1, 23°C, 44% RH), both located at the Useful Plant Resources Center, Korea National Arboretum. In the test environment, vase life in the phyto-garden system (42.4 days) was three times longer than that at room temperature in the laboratory (14.4 days). Increasing the cut flower length from 20 cm to 40 cm resulted in a longer vase life, measured as 15.2 days and 17.4 days, respectively. Variation of sucrose concentration had no positive effect on vase life while lower pH values appeared to extend it. Vase life measured at pH 5, pH 6, pH 7, and distilled water equaled 15.6 days, 13.4 days, 13.1 days, and 14.8 days, respectively. Storage temperature was found to have the greatest influence on vase life, in which at 83 days, 41.2 days, 35.5 days, 17.4 days, and 14.4 days were recorded at 4°C, 10°C, 15°C, 20°C, and room temperature, respectively. Thus, the conditions of high light intensity, high humidity, long cut flower length, and low storage temperature have been found to be most effective to increase the vase life of E. jolkinii Boiss. cut flowers.

The New Domestic Hydrangea macrophylla Cultivar ‘Moonlight’

Seong-Hwa Bak,Hyo Jin Jung,Ji min Lim,Jae Shin Lee,Tae-Ho Han 한국원예학회 2021 원예과학기술지 Vol.39 No.6

The Hydrangea ‘Moonlight’ cultivar was registered in 2020 by Chonnam National University. In 2015, mophead-type H. macrophylla ‘Adria’ and mophead-type H. macrophylla ‘Ocean’ were crossed, and the progenies were grown in 2016. We screened and selected for disease resistance lines during a field trial in 2016, and investigated the flower type, floral color, and growth type from 2017-2018. Finally, we selected the distinctive line D15009. The showy sterile flower’s (sepal) color was pinkish (RHS Color Chart Purple Group 75C) and the floral head type was mophead. The inflorescence width and height were 7.80 and 14.84 cm, respectively. The average number of showy sterile flowers (calyces) per inflorescence was 152.3, and they were scentless. The average plant height was 56.83 cm and the growth type was semi-erect with stems that were bowing. Leaf length and width were 11.22 and 7.20 cm, respectively. ‘Moonlight’ was a late flowering garden cultivar. Flowers began to bloom in mid-April in the greenhouse, but in early June in the outer fields. There was a wide variation in flower color, ranging from pink, dark purple, and blue in accordance with the measurement of soil pH during gardening and pot cultivation. A new Hydrangea cultivar, ‘Moonlight’ was registered with the Korea Seed and Variety Service (plant variety protection number: 8059).

백제 사비기 은화관식과 역삼각형 관식에 관한 연구

권준희 한국의류학회 2023 한국의류학회지 Vol.47 No.2

This study concerns the flower-shaped silver crown ornament and inverted triangle-shaped crown ornament of Baekje, which were worn frequently during the Sabi period. The purpose of this study is to present a new es- timated shape of the crown and ornaments. Individual excavation cases and archaeological data were analyzed. The flower-shaped silver crown ornament appears as a thin silver plate with buds on the center and side branch- es and is symmetrically bent from the center to form a ∧ shape. The inverted triangle-shaped crown ornament resembles two right-angle triangles that are back-to-back. The crown to which the two ornaments were added appears to be a triangular crown that was made by covering birch bark of with fabric. Both ornaments were be- lieved to have been located on the front of crown, but that is incorrect. The flower-shaped silver crown orna- ment was inserted on the front of the crown, and the inverted triangle-shaped crown ornament was fixed with a tip at the top of the crown and then obliquely on the crown's side. The inferred design was confirmed with real reproductions. This study is significant in that it identifies the crown of Baekje during the Sabi period.

유물을 통해 본 대가야의 불교문화

이병호 한국불교학회 2018 韓國佛敎學 Vol.86 No.-

The objective of this paper is to identify the Buddhist sect in the Daegaya region and determine how widely this Buddhist sect culture had spread in the Daegaya region by studying the lotus flower patterns engraved on roof tiles excavated in the Goryeong region. In Chapter II, roof tiles excavated in the Gimhae and Goryeong regions are studied. Roof tiles, which were discovered at the Gimhae Buwon-dong ruins, the Bonghwang-dong ruins, and the ruins of the Daegaya Kingdom royal palace in the Goryeong region, were produced using the same techniques used in making potteries. In addition, lotus pattern-engraved tiles were discovered at the kiln remains in Goryeong Songrim-ri. Ornamental roof-end tiles with lotus pattern engravings were found at the ruins of the Daegaya Kingdom royal palace, Jisan-ri ruins, and Goa-ri 158-2 ruins. Lotus flower-patterned roof tiles and bricks discovered in the Goryeong area provide clues to understanding Buddhism in the Daegaya Kingdom. In Chapter III, the production periods of lotus-patterned tiles and ornamental roof-end tiles from the Goryeong region and their classification system were analyzed. Along with the tomb wall painting in Goa-ri, the lotus flower-patterned tiles from Songrim-ri is closely related to Baekje in their relation to the relics discovered in the tomb of King Muryung. It is speculated that these tiles emerged in the 6th century as a result of the Baekje influence. The patterns and production method of the roof-end tiles from the Daegaya Kingdom royal palace and Jisan-ri ruins were those of the Baekje period. Because the tiles are of the same style as those of the Heungnyunsa Temple site, however, the tiles were most likely produced around the 6th century, strongly influenced by the Silla Kingdom. But it cannot be determined whether the time point of the tile creation was before the demise of the Daegaya Kingdom. Until the early 6th century, Buddhism in the Daegaya Kingdom was heavily influenced by Baekje. After the mid-6th century, however, the influence of Silla apparently increased. 이 글은 고령 지역에서 출토된 연화문이 장식된 기와와 벽돌을 분석하여 대가야 지역에 어느 정도 불교문화가 보급되고 그 계통이 어디인지를 밝히기위해 작성되었다. Ⅱ장에서는 김해와 고령 등지에서 출토된 기와와 벽돌 자료를 정리하였다. 김해 부원동유적과 봉황동유적, 고령 傳 대가야왕궁지 일대에서는 토기를 제작하는 방식과 유사한 기술이 적용된 기와들이 발견되었다. 또 고령 송림리가마터에서는 연화문전, 전 대가야왕궁지, 지산리유적, 고아리 158-2유적에서는 연화문수막새가 발견되었다. 고령 지역에서 발견된 연화문 장식의 기와나 벽돌은 대가야의 불교를 이해하는 단서를 제공한다. Ⅲ장에서는 고령 지역 연화문전과 연화문수막새의 제작시기 및 계통을 분석했다. 송림리 연화문전은 고아리 고분벽화와 더불어 무령왕릉 출토품 등 백제와의 관련성이 높아 6세기 전엽, 백제 계통의 영향으로 출현한 것으로 생각된다. 傳 대가야왕궁지와 지산리유적의 연화문수막새는 문양이나 제작기술이 백제 계통에 속하지만, 흥륜사지와 동범 관계가 확인되기 때문에 6세기 중엽 신라의 영향을 받아 성립된 것으로 생각된다. 다만 그것이 대가야 멸망 이전에 해당하는 것인지는 판단할 수 없었다. 대가야의 불교는 6세기 전엽까지는 백제의 영향이 강하지만, 6세기 중엽 이후부터는 신라의 영향이 점차 강해졌던 것 같다.

월지 출토 화조문뼈장식의 용도 추정

전효수 한국고고미술연구소 2017 동원학술논문집 Vol.18 No.-

Wolji Pond (Anapji) is the remains of an ancient pond originally made in the grounds of the East Palace of Gyeongju (Inwang-dong), which was built some 1,300 years ago right after the unification of the Three Kingdoms on the Korean Peninsula. Excavations were begun in March 1975 and continued for about two years until December 1976. Approximately 30,000 relics spanning the Unified Silla Period to the Joseon Period were unearthed from the archaeological site, including 200 bone ornaments inscribed with flower and bird patterns from the Unified Silla Period. At present, the Gyeongju National Museum is carrying out preservation treatment of these bone ornaments. A preliminary analysis conducted before the treatment has identified the function of the V-shaped groove and revealed that the spacing between the nail holes can be grouped into 3 types. The conclusion of the analysis is that the bone ornaments must have been attached to a hexahedron-shaped structure. Furthermore, when the surroundings of the excavation site are considered, together with a reexamination of the associated relics and comparisons with the artifacts kept at the Shosoin Treasure House in Japan, it may be concluded that the bone ornaments were associated in some way with containers that housed Buddhist relics during the Unified Silla Period. In the past, such bone ornaments were analyzed by comparing their patterns to similar artifacts kept at the Shosoin Treasure House in Japan. As a result of these analyses, the bone ornaments were thought to be decorations attached to the edges of certain objects such as folding screens or to a door that opened into a chamber in which a statue of Buddha was kept. However, the evidence for such a postulation is very insubstantial. This research is significant because it goes one step further and identifies the specific function of these bone ornaments. In addition, a book titled Sohwajeongbaekpalsibi Yuljeongnyuksip dating from the Unified Silla Period was discovered in the course of this research. The book is a real document that sheds light on trading practices and how people viewed numbers in those days. 월지(月地, 안압지)는 1300여 년 전 삼국통일 직후 조성된 경주월성 별궁(東宮)의 원지(苑池)이다. 1975년 3월부터 이듬해 12월까지 약 2년 동안 발굴조사가 이루어졌으며, 통일신라시대부터 조선시대에 이르는 약 3만 점의 문화재가 확인되었다. 출토품 중에는 동물 뼈를 판 형태로 가공하여 등간격의 구멍을 뚫고, 구멍 사이마다 화초와 새 문양을 새긴 통일신라시대의 화조문병장식 200여 편이 있다. 이 뼈장식은 형태적·유형적으로 매우 희귀하여 학술적인 가치가 매우 큰 것으로 평가 받아왔다. 최근 국립경주박물관은 이들 뼈장식에 대한 조사와 보존처리에 착수하였다. 보존처리에 앞선 사전조사 결과, 약 40여 점이 원래 형상으로 복원 가능한 상태임이 확인되었고, 뼈장식 1점의 뒷면에서 ‘소화정백팔십이율정육십(小花釘百八十二銉釘六十)’이라는 11자 묵서명을 발견하는 성과를 얻었다. 본고에서는 보존처리 전 조사과정에서 확인된 내용을 바탕으로 출토 상황과 기존의 자료 등을 재검토하여 월지 출토 화조문뼈장식의 용도에 대하여 논하였다. 그간 화조문뼈장식이 일본 쇼소인 소장품과의 문양 유사성 등에서 유의미한 비교연구가 있었다면, 이번 연구는 그것에서 한 걸음 더 나아가 뼈장식의 용도를 특정하였다는 데 의의가 있다. 또, ‘V’자형 홈의 역할을 통해 당시의 뛰어난 공예수법이 확인되었고, ‘소화정백팔십이율정육십’ 명문을 통해 당시 사람들이 못의 크기와 종류를 구해 사용해왔으며, 수(數) 개념이 명확했음을 재확인할 수 있었다.