此岸과 彼岸의 만남

金惠瑗(Kim Haewon) 미술사연구회 2008 미술사연구 Vol.- No.22

This essay explores the architectural depictions in the Western Paradise scenes preserved in the murals of the Mogao Caves in Dunhuang. While architectural historians has long noticed and discussed the impressive representation of architecture in various Pure Land scenes, it was not a main issue among the scholars in the field of Buddhist art and iconography. In order to understand the Buddhist context of the motif that has been largely neglected, the present discussion focuses on its depictions in the Western Paradise scenes, which was the most popular Pure Land theme with grandiose architectural background among the Dunhuang murals. The first part of the essay outlines the main features of the Western Paradise scenes including the textual sources, types, and architectural depictions during the Early Tang (618-712) and the High Tang (712-781). The second part discusses the relation between the architectural depiction in the Western Paradise scenes and the actual architecture presumed to have existed in contemporary monasteries and palaces. As mentioned in previous scholarship, the actual architecture served as an important source for the representation of the architecture in the fictitious world of the Western Paradise. However, it is argued that when comparing the reconstruction of the monastery and the palace buildings based on the historical texts and archaeological excavations with the architectural background in the Western Paradise murals, it is unlikely the buildings represented in the murals were exact reproduction of the actual architecture. Rather, they were fabricated images formulated by means of combining various architectural elements and building types in order to create the ideal space of the Western Paradise. The third part looks into the relation between the Pure Land Sutras and the architectural elements in the Western Paradise scenes. The examination of the sutras reveals that the section referred to “Contemplation of the Jeweled Pavilion”in the Guan wuliangshou jing 觀無量壽經(Sutra on the Contemplation of the Buddha of Measureless Life, hereafter “Contemplation Sutra”) is distinguished from many other relevant phrases that simply mention building types such as lecture hall, pavilion, and monastery in that it gives a rather long explanation and is related to the practice of contemplating on the Western Paradise. Its significance in the visualization of the architectural space in the murals is evinced by the fact that the pavilion is the major building type when the architectural setting begins to appear in the Western Paradise scenes. Based on this observation, a new problem is proposed in the last part of the essay. It discusses the way in which the Western Paradise scenes in the Mogao Caves have been identified in relation to the Contemplation Sutra and the other two Pure Land Sutra of Wuliangshou jing 無量壽經(The Longer Sutra) and Amituo jing 阿彌陀經(The Shorter Sutra). If the Contemplation Sutra was an important sutra in the visualization of the Western Paradise in the forms of relief sculptures and paintings, as argued by this article and also other scholars in different contexts, the popular distinction between the “Contemplation Sutra Illustration”and the Western Paradise scenes with no relevance to the Contemplation Sutra appears misleading and incorrect. In this sense, it seems that a more comprehensive discussion on this problem should be made in the future.

양주(凉州) 번화현(番禾縣) 서상(瑞像)의 도상에 대한 재고(再考)

김혜원(Haewon Kim) 한국미술사교육학회 2011 美術史學 Vol.- No.25

본 논문은 근래 발표된 종교적인 상(像)에 대한 인식과 복제, 그리고 중국 서상(瑞像)에 대한 논의를 기반으로 양주(凉州) 번화현(番禾縣) 서상(瑞像)의 도상을 재검토한다. 기존 연구에서 ‘양주 번화현 서상’으로 판명된 조상(造像)이 엄밀한 의미에서는 양주 번화현 서상의 ‘재현물’에 해당한다는 점에 주목하여, 이전의 도상 판명이 지닌 문제를 지적하고 신상(神像)이 지닌 복잡한 속성을 논한다. 먼저 제2장에서는 관련 문헌 자료를 소개한다. 당대(唐代, 618-907) 수도인 장안(長安)에서 편찬된 문헌과 더불어 ‘류살하인연기(劉薩河因緣記)’라고 알려진 돈황(敦煌) 문서 P.3570, 2680, 3717과 ‘양주어산석불서상인연기(凉州御山石佛瑞像因緣記)’로 알려진 무위(武威) 발견 비석 자료를 다룬다. 이어 제3장에서는 양주번화현 서상 도상에 대해 문제를 제기한다. 기존의 연구에서 돈황 막고굴 제237굴의 〈서상도(瑞像圖)〉의 방제(旁題)에 근거한 도상 판명을 초당(初唐, 618-712)부터 서하(西夏, 1038-1227) 시기에 이르는 긴 기간 동안 제작된 여러 조상에 일률적으로 적용하는 것이 문제라는 점을 지적한다. 더불어 영국박물관 소장 〈자수여래입상(刺繡如來立像)〉(Ch.00260)과 같은 예를 중심으로, 동일한 불상 형식을 ‘양주번화현 서상’, ‘영취산(靈鷲山)의 석가모니’로 보는 견해에 대해서 논한다. 제4장에서는 도상에 대한 이견이 존재하는 예를 중심으로 번화현 서상과 영취산 석가/석가상의 문제에 대해 논한다. 우선 그 첫 번째 단락에서는 중당(中唐)을 기점으로 특정 불상의 복제가 활성화된다는 우훙(Wu Hung)의 주장에 착안하여, 기존에 ‘번화현 서상’이라고 알려진 형식의 불상이 그것이 등장하는 공간적인 맥락에서도 중당을 기점으로 차이가 난다는 점을 논한다. 즉 7-8세기 조상은 대체로 주어진 공간에서 주된 예배상으로 기능했다면, 그 이후의 상은 부수적인 공간에 배치되거나 큰 그림의 일부로 등장하는 것이다. 두 번째 단락에서는 첫 번째 단락에서 언급한 중당을 기점으로 한 이분법에 적용되지 않은 예로 현재 뉴델리 국립박물관과 영국박물관에 나누어 소장되어 있는 돈황 발견 〈불보살도상집(佛菩薩圖像集)〉(Ch.xxii,0023)을 논한다. 여기에 등장하는 ‘번화현 서상’ 형식의 불상에 대해서도 영취산의 석가/석가상, 또는 번화현서상으로 보는 견해가 공존한다. 본 논의에서는 양식적 특징과 방제의 내용을 바탕으로 한 그림의 시기와 성격을 고려할 때 영취산의 석가상으로 보는 것이 타당하다고 주장한다. 더불어 중국에서 영취산 석가상에 대한 관심과 수요가 있었지만, 그것은 인도 영취산에 있었다고 전하는 석가상을 그대로 모방한 것이라기보다는 인도적인 요소와 중국적인 요소를 결합하여 새롭게 창안한 형태를 지닌 것이라는 점을 언급한다. 마지막으로 세 번째 단락에서는 번화현 서상 형식의 불상과 영취산 석가와의 관련성을 돈황 지역에서 오대(五代, 907-960)와 송대(宋代, 960-1279)에 유행한 〈불교성적도(佛敎聖蹟圖)〉의 경우를 통해 논한다. 여기에 등장하는 ‘번화현 서상’ 형식의 착의법이 전형적인 형식과는 차이를 보이는 점과 돈황 문서 S. 2113의 호탄 우두산(牛頭山) 불상에 대한 내용을 기반으로, 이는 번화현 서상을 표현한 것이 아닌 영취산의 석가를 표현한 것으로 설명한다. This paper re-examines the iconography of the auspicious image in Fanhe, Liangzhou, which is mentioned in several Buddhist texts in medieval China. The main purpose is to bring attention to the complex nature of the replication of a particular holy statue based on the recent discussions on the reception and replication of religious images as well as the so-called “ ruixiang(auspicious images)” in medieval China. The paper first deals with the textual sources of the auspicious image at Fanhe, which include the Tang (618-907) texts compiled in Chang’an such as Xu Gaoseng zhuan (Continued Lives of Eminent Monks) and Ji Shenzhou Sanbao Gantong Lu (Collected Records of Spiritual Response of the Three Jewels in China), as well as Dunhuang manuscripts P. 3570, P. 2680, P. 3717 and the stele inscription discovered in Wuwei in Gansu. The second part of the paper focuses on the problems regarding the iconography of the Fanhe image in previous scholarship, mainly the anachronistic imposition of the late Tang and Five Dynasties iconography on earlier examples. The third part deals with the problem of the identification of the Fanhe images in relation to the iconography of “Shakyamuni on the Vulture Peak.” Based on Wu Hung’s discussion on the development of awareness between “representations of divinities” and “representations of images” in the mid- and late Tang, it points out that the possibility that the Buddha type in concern had multiple referents during the seventh and eighth century. It then discusses a silk painting from Dunhuang known as a collection of “famous images” of India and Central Asia. Considering its stylistic features, date, and inscriptions, it is argued that this painting is earlier than the wall paintings and the records of auspicious images found in Dunhunag Mogao Caves that include famous images from the present-day Gansu region, and that the Buddha image in a typical posture of the Fanhe image in this painting is highly likely a representation of Shakyamuni on the Vulture Peak. Lastly, the case of the mural paintings of famous Buddhist sites dated as the Five Dynasties and Song periods is discussed as evidence for the close connection between the Shakyamuni on the Vulture Peak and the Buddha type known as the auspicious image at Fanhe.

敦煌의 지역적 맥락에서 본 初唐期 陰家窟의 정치적 성격

김혜원(Kim Haewon) 한국미술사학회 2006 美術史學硏究 Vol.- No.252

본고는 中原과 敦煌 지역이 어느 때보다도 밀접한 관계에 있었던 初唐期 敦煌 莫高窟의 지역적인 맥락을 고찰하기 위해 陰氏 가문이 발원한 석굴인 陰家窟의 미술과 발원자를 살펴본 글이다. 초당기의 모습을 유지하고 있는 음가굴은 제96, 321, 217굴이다. 이들은 모두 돈황에서 이전에는 찾아볼 수 없었던 새로운 도상과 양식을 지녔다는 점에서 주목된다. 우선 제96굴의 경우, 거의 90세에 가까웠던 陰祖라는 인물이 주요한 發願者로 참여했다. 석굴에 보이는 새로운 요소는 彌勒大佛로, 이는 武則天이 새로운 황제로 즉위하면서 자신과 미륵을 동일시하고자 했던 배경에서 중시된 도상이다. 제321굴에는 五代 명문에 음씨가 언급되고 있다. 이 석굴에서 가장 눈에 띄는 새로운 요소는 남쪽 벽에 표현된 〈寶雨經變〉에서 찾아볼 수 있다. 『寶雨經』은 무측천이 자신의 정치적 정당화를 위해 사용했던 경전 중 하나이다. 이 벽화와 무측천의 연관성은 벽화 윗부분에 표현된 구름 속에서 등장히는 동그란 물체를 들고 있는 두 손에서 명백히 드러난다. 이는 무측천 시기에 새로 제정된 한자로 쓴 그의 이름 “?”를 시각화한 것이다. 이 석굴에서 또 하나 주목되는 것은 한 쌍의 하얀 동물상이다. 이는 691년 음조의 아들 陰守忠이 보고했던 祥瑞인 ‘하얀 이리(白狼)’를 표현한 것이라고 생각된다. 제217굴의 발원자 제기에는 陰嗣瓊과陰嗣玉의 이름이 남아 있다. 이들은 제96굴을 발원한 陰祖와 더불어 8세기 초 음씨 가문의 가장 연장자였던 陰稠의 손지들이다. 이 석굴에서는 동, 남 북벽에 그려진 벽화에서 모두 새로운 구도와 모티프를 발견할 수 있다. 이 중 특히 주목되는 것은 남벽 〈法華經變〉의 가운데 그려진 佛說法 장면을 둘러싼 구획과, 북벽 〈觀無量壽經變〉의 왼쪽 부분에 큰 비중으로 그려진 군사들의 모습이다. 이처럼 이 시기에 음씨 가문에서 발원한 석굴이 많고, 여기에는 새로운 도상과 양식을 이용하고 있는 배경에는 음씨 가문의 세력이 이 시기에 급격히 커진 것과 관계가 있다. 『돈황명족지』에 의하면, 음씨는 다른 명족에 비해 뒤늦게 명족의 대열에 올랐다. 또한 무측천이 집권한 7세기 말에서 8세기 초가 되면 관직에 오른 이가 21명에 달하며 , 결과적으로 돈황에서 張氏 다음인 두 번째로 영향력 있는 위치를 차지했다. 제96굴과 제321굴처럼 무측천이 황제의 지위에 오르면서 사용한 정치적 정당화와 관련된 모티프가 많다는 점을 고려할 때, 이들은 무측천 정권을 적극적으로 지지하면서 자신들의 영향력을 키운 것으로 보인다. 이러한 경향은 陰稠의 가계보다 陰祖의 가계에서 뚜렷하며, 후자의 활동에 대해서는 8세기 전반 이후로는 뚜렷한 기록이 없다는 점을 통해서도 이들이 당시 정권에 편승했음을 잘 확인할 수 있다. 초당기 음씨 가문이 발원한 음가굴에는 돈황에서 이전에는 찾아볼 수 없었던 새로운 요소가 많이 발견된다. 대부분 중원에서 새로 유입된 것이라 생각되지만, 제321굴의 하얀 이리 조각과 제217굴의 〈관무량수경변〉에 표현된 군사들의 모습은 돈황의 지역적 특수성과 관련 있는 것으로 보인다. 수많은 상서 기운데 하얀 이리는 변방의 민족을 정벌한다는 뜻을 담고 있는 것으로, 서북 변방에 위치하여 변방의 침입이 중요한 과제였던 돈황 지역의 상황과 잘 맞아떨어진다. 더불어 관직에 오른 음씨의 대부분은 이러한 일을 담당했던 무관이었다. 무관이라는 발원자의 배경은 또한 제217굴 〈관무량수경변〉에 군사들의 훈련 장면이 큰 비중으로 표현된 것에 영향을 준 것이라 생각된다. The article attempts to emphasize the regional context of the Dunhuang Caves of the Early Tang (618-712) by examining the caves constructed by Yin Family during the period. The caves in concern are Mogao Caves 96, 321, and 217. These cave shall stand out for their adoption of unprecedented iconographies and styles in tile Dunhuang region. As for Cave 96, almost ninety-year old Yin Zu participated as its major donor. The cave's new feature is its main icon, tile colossal statue of Maitreya Buddha, The iconography is related to the importance of Maitreya during the Wu Zetian's period (690-705) when the newly enthroned female emperor and Maitreya was equated. In Cave 321, there remain in scriptions with tile surnames of Yin from tile Five Dynasties period. This cave again is filled with new iconographies and styles, and it is most notable in tile wall painting on the south wail. The painting has been identified as the Precious Rain bianxiang. The Sutra of Precious Rain (Baoyujing) which tills painting takes its theme from, is the sutra that Wu Zetian used for the justification of her political legitimacy. The connection between the painting and Wu Zetian is clearly demonstrated by the two hands with round objects appearing from a band of clouds. It is a visual representation of Wu Zetian's name "Zhao" in its new character formulated during the Wu Zetian's reign. Another notable feature is a pair of two white animal statues that were installed in front of the niche on the west wall. They are regarded to be ''white Wolf." one of the auspicious signs that was reported from Dunhuang by the son of Yin Zu (the donor of Cave 96), Yin Shouzhong Among the donors' inscriptions in Cave 217, the names of the Yin family members are preserved including Yin Sijing and Yin Siyu They are grandson's of another Yin Zu, who was one of the two elders of the Yin family during the early eighth century The paintings on the south, north, and east walls show new compositions and motifs. Especially notable are the demarcation around the Buddha's assemble in the center of the Lotus Sutra bianxiang on the south wall, and the group of soldiers represented in the Contemplation Sutra bianxiang on me north wall. The Yin family in Dunhuang was a late comer to the group of prominent families in the region. According to the Record of Eminent Families in Dunhuang, the Yin family became an eminent family after Sui-Tang period. Other relevant records show that twenty-one members of the Yin family attained official titles between the late seven til and early eighth century, and they became the second-rank among many eminent families in Dunhuang Considering many Wu Zetian-related motifs in their caves, especially in Caves 96 and 321, it appears thar the Yins were solidly established as one the most powerful dans in Dunhuang by demonstrating themselves as great supporters of Wu Zetian. This was more obvious in me case of the Yin Zu and Yin Shouzhong line, whose records after the early eighth century does not remain. While these caves adopted the new iconographies and styles from the Central Plain, some regional elements are found as well. It seems plausible that the "White Wolf" from Cave 321, which symbolizes a successful defeat of the 'barbarians," and the group of soldiers represented in the Contemplation Sutra bianxiang in Cave 217, are related to the environment of the Dunhuang region and the professional background of the donors. Located in the northwestern frontier, attacks from the neighboring regions were biggest concerns for the Dunhuang people. Moreover, many of the Yin family members selved as military officials. In this sense, we can say that the caves not only have the newly introduced elements from the Central Plain but also have regional themes and motifs.

양식, 무엇이 문제인가?

김혜원(Kim, Haewon),송은석(토론자) 서양미술사학회 2012 서양미술사학회논문집 Vol.36 No.-

본 논문은 중국 불교조각에 대한 논의에서의 양식의 문제를 다룬다. 우선 중국 불교조각의 양식에 대한 논의가 시작되었던 20세기 전반기의 주요 논의를 살펴보고, 양식과 더불어 미술, 심미적 가치에 주목한 맥락을 논한다. 이어 최근 연구 중 일부 사례를 통해 방법론에 따라 양식이 논의되는 방식과 그 문제점을 살펴본다. 결론적으로 양식이 중심이 되는 논의와 그 외의 요소, 즉 정치, 사회, 종교적 측면이 중심이 되는 논의는 모두 필요하지만, 이러한 두 가지 방법론은 시각 자료의 양식에 대한 파악은 공유되어야 한다고 주장한다. This essay discusses several issues regarding style in the study of Chinese Buddhist sculpture. The first part examines the context in which the style was began to be discussed in the field, focusing on some of the major works in the first half of the twentieth century including Osvald Siren’s Chinese Sculpture from the Fifth to the Fourteenth Century (1925) and Ludwig Bachhofer’s A Short History of Chinese Art (1946). It is noted that some of the principal and prevalent notions of that time in this field, such as art’s autonomy and Western aesthetic values, provided important background for the discussion of style. The second part of the essay discusses the status of style in recent studies. Angela Howard’s “Pluralism of Styles in Sixth-Century China: A Reaffirmation of Indian Models” (2008) was selected as a case based on the traditional view of style. In this paper, Howard criticized the theoretically driven works in recent decades for their disregard to stylistic analysis and aesthetic aspect of art. She made important observations on Buddhist images from Shangdong and Sichuan, which helps our understanding of their stylistic characteristics. However, her analysis of individual images was overshadowed by old premises of art history that were inherited from the early part of the twentieth century, such as period style and naive view of “influence.” Katherine Tsiang’s “Changing Patterns of Divinity and Reform in the Late Northern Wei” (2002) was selected as an example of the recent studies that focus on social and political dimensions of art. By bringing in much of textual evidences, she offers a new perspective on the sinicized Buddhist images of the late Northern Wei. While her discussion offers a coherent narrative that contributes to the understanding of the historical context, her visual evidences for this argument appeared to be somewhat problematic. In the conclusion, it is noted that the above mentioned studies both have their roles in the study of Chinese Buddhist sculpture as warp and woof, and their crossing points would be the stylistic features of visual materials. And therefore thorough understanding of the style of the materials in discussion is required in order to weave a coherent picture of the history of Chinese Buddhist art.

비만에서의 장내 미생물 무리의 역할

김혜원 ( Haewon Kim ),백명기 ( Myong Ki Baeg ),김지현 ( Jie-hyun Kim ) 대한내과학회 2019 대한내과학회지 Vol.94 No.5

Obesity is a critical target for public health interventions worldwide. There are many causes of obesity, and the importance of the gut microbiota in its pathogenesis has recently been recognized. The composition and function of the gut microbiota play a role in obesity and metabolic disease, yet the underlying mechanisms are unclear. Advances in our understanding of the link between obesity and the gut microbiota have suggested the potential of its manipulation for treating obesity. In this review, we summarize current knowledge of the interactions between the gut microbiota and obesity as well as the therapeutic potential of its modulation. (Korean J Med 2019;94:410-413)

석굴암 주실은 왜 원형당으로 만들어졌을까? ―인도와 연관되었을 가능성에 대하여

김혜원 ( Haewon Kim ) 미술사와 시각문화학회 2023 미술사와 시각문화 Vol.31 No.-

This essay delves into the relation between Seokguram and Buddhist buildings in India based on the assumption that the East Asian Buddhists’ aspiration toward India in the seventh and eighth centuries played an important role in selecting the circular shrine type for the main chamber of Seokguram Grotto. The first part of the essay reexamines previous scholarship on the foreign elements found in Seokguram structure and suggests a possibility that the circular plan of the main chamber is related to the architectural tradition in India, where circular plans were consistently adopted for major religious buildings from the ancient times. The second part deals with the term ‘gandhakuṭī (perfumed chamber),’ a dwelling place for the living Buddha. Its concept is in line with the significant characteristics of the Vajrāsana Buddha image in Bodhgaya, which offered an experience to Buddhist followers as if they are encountering Śākyamuni in person. East Asian Buddhists’ interest in Indian Buddhist architecture including gandhakuṭī is discussed based on the writings and translation works of an influential East Asian pilgrim Yijing (635-713). In addition, the description of gandhakutṭī in Yijing’s writing as a stūpa enshrining a Buddha image is further discussed in relation to the main architectural features of the pilgrimage sites related to Śākyamuni Buddha including Bodhgaya, which are referred to as ta or tap in the writings of Faxian (337?-429), Wang Xuance (fl. 7th century), and Hyecho (700 or 704-780). The essay concludes that the inspiration behind selecting the circular plan for the Seokguram main hall was Indian stūpas, many of which were built on circular plans.

소듐 메타바이설파이트와 프로필렌글라이콜에 의한 폐세포 독성 연구

유진(Jean Yoo),임연미(Yeon-Mi Lim),김혜원(Haewon Kim),김은지(Eun-Ji Kim),심일섭(Ilseob Shim),김현미(Hyun-Mi Kim),김필제(Philje Kim) 환경독성보건학회 2017 한국독성학회 심포지움 및 학술발표회 Vol.2017 No.5

CPC의 기관내점적 실험을 통한 랫드의 호흡기 영향 평가

유진(Jean Yoo),김은지(Eun-Ji Kim),김혜원(Haewon Kim),임연미(Yeon-Mi Lim),심일섭(Il-Seob Shim),김현미(Hyun-Mi Kim),김필제(Pilje Kim),유승도(Seung Do Yu) 환경독성보건학회 2017 한국독성학회 심포지움 및 학술발표회 Vol.2017 No.10

랫드를 이용한 Sodium metabisulfite의 급성흡입독성 연구

임연미(Yeon-Mi Lim),유진(Jeon Yoo),김혜원(Haewon Kim),김은지(Eun-Ji Kim),심일섭(Il-Seob Shim),김현미(Hyun-Mi Kim),김필제(Pilje Kim),유승도(Seung Do Yu) 환경독성보건학회 2017 한국독성학회 심포지움 및 학술발표회 Vol.2017 No.5

Critical Performative Pedagogy and Its Applications in English Teacher Education in Korea

안수진(Soojin Ahn),채기은(Ki Yeun Chai),김혜원(Haewon Kim),박승희(Seung Hee Park),박유민(Yu Min Park) 서울대학교 교육종합연구원 2021 The SNU Journal of Education Research Vol.30 No.2

In response to a call for more action research in language teacher education, this research aims to show how critical performative pedagogy (CPP) is applied to English teacher education in South Korea. CPP includes a series of multimodal activities for language teachers, such as narratives, storytelling, forum theatres, critical discourse analysis, and reflections. This research focuses on four teacher-researchers’ reflections on the process of CPP during a semester-long graduate course and the post-reflections after the end of the course. The participants’ reflections were collected and analyzed through a case study method. The findings show that their participation in CPP helped the participants critically reflect on and challenge the power issues in English teaching, such as the native speaker fallacy. Moreover, their CPP practices helped the participants transform their everyday practices. This research provides important implications for integrating critical pedagogy into English teacher education programs and its influence on future classroom settings in South Korea.