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강우방 국립중앙박물관 1993 미술자료 Vol.- No.52
In this paper, I studied Indian theories of proportion, focusing on their parallels with Greek theories, this application to Buddhist sculpture, and their spread to East Asia : Iconcluded by examining the proportions of the main image at Sokkuram monument. There are two main pouposes in studying these problems : one is an attempt to deduce the orginal intention of the artists who constructed Sokkuram : the other is to confirm the importance of proportion in Buddhist sculpture. For these purposes a survey of the evolution of the Indian theory of proportions is necessary to establish the origins of certain concepts. 'Silpa-sastras' means the canon of doctrine of fine arts. The term Silpa denotes sculptrue in a narrow sense, but all arts, sculpture, painting, and architecture in a broad sense. By the seventh century, when Esoteric Buddhism began to be popular in India, the Hindu silpa-asatras were highly developed and influenced Esoterie Buddhist iconography. The most important of these texts wer e Citralaksana (Theory of painting), Brbat-Sanbita(Ancient Indian Encyclopaedia), Pratimalaksana(Theory of the Proportion of Starues), Pratimanalaksana, Sariputra, Dasatala-nyagrodbaparimandala-pratimalaksana (On the essentials of the Plastic Representation of the Buddha Comparable to the Ten -span -wide Nyagrodha Tree). The first two are Hindu texts and the latter four are Buddhist. All six deal with the proportions of various parts of the body of divine image. Several principles can be formulated by summarizing and comparing these texts. Two main principles of proportion can be extracted from the exposition of Brahma and the Buddha : One is 'nyagrodbaparimandala' and the other 'talamana'. These two important concepts of proportion and similar to the main principles of Greco-Roman canons of proportion. Ultimately, the Western..artists who followed and developed the Greek canon and the Asian artists who worked from the Indian cannon, all pursued the same principles of proportion in making divine statues. All of the Indian treaties on image-mailing(figural sculpture) describe the proportion of ntagrodbaparimandala at the opening of the theory of proportions of the Mahapurusa (creator) Sanskrit 'nyagrodbaparimandala' means 'circle shaped as the Nyagrodha tree. This is one of the thirty-two beauty marks(laksana) of the Mahapurusa This simile, as discussed above, was adopted for the proportions of Cakravartin and the Buddha. Vitruvius writes as follows : For if a man lies on his back with hands and feet outspread, and the center of a circle is placed on his navel, his fingers and toes will be touched by the circumference‥‥‥ For if we measure from the sole of the foot to the top of the head and appIy the measure to the outstretched hands, the breadth will be found equal to the height, just like sites which are squared by rule. we thus find that Indian and Greek canons share a striking similarity in common. Since Leonard da Vinchi studied Vitruvius theory and made a drawing based on it, the artists of the Renaissance can be seen to ha7'e found inspiration in the work of Vitruvius. The concept of nyagrodbaparimandala has basically different meaning from the concept of talamana. Therefore, in this paper tole two concepts are separated In my iconometry consists of two different concepts. The former term, nyagrodbaparimandala has the broader, metaphsical sense : this principle is closely associated with the sacred geometry of square antral circle based upon a cosmological world view. The latter term, talamana, has a more practical, narrower sense. Tala means the length of a face and mana the length of a body. Talamana, therefore, can be literally translated "the proportion of face to body. It is usually said the distance between the tips of the thumb and the middle finger, when they are stretched out, is called the tala. This distance corresponds to the length of the face. Finally, tala means the length of the face and becomes the basic unit of proportion of human body, The length of face is divided into three equal parts in Indian theory as well as in Greek and Egyprian theory. While in Indian theory nine-faces and ten -faces tala system were ideal , in Greek theory eitght-faces proportion was most beautiful. Yoneda mainly examined the ground plan, empasizing the architectural planning. I, However, have emphasizied the proportion of the main statue and focused on the elevation and facade, If the proportion of the facadee is examined in terms of the proportion of th e statue, the following relationship between them can be pointed out : the breadth of the two shoulders determined the distance between the two pillars : one half of the height of the main image determined the height of the pedestal : and the total height of the image including the pedestal determined the height of the arched entrance. Thus, the measurements of the main image(the body of the Buddha) determined the proportions of the architercture. In this respect, Sokkuram demonstrates eloquently remarkable relationship between the architecture and sculpture based upon the mathematical bodily proportions of the main image This is one of the most important monuments exhibiting such a fundamental problems and clear solution as well in the history of world art. These principles have been born out by a detailed analysis of the Sokkuram monument in connection with the measurements of its main image. The new analysis of Sokkuram monument will be summarized as follows. The talamana of the Sokkuram image has important common features with the Indian canons. Furthermore, it is evident that the dimensions of the mails buddha image determined the measurements of the architecture. (1) The total height ,of the seated Buddha image, including the ped estal which is harmonious in proportion to the image, determined the height of the circular hall. (2) The fathom or arm span of the main image determined the diameter of the circular hall as well as that of
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강우방 국립중앙박물관 1995 미술자료 Vol.- No.55
Style consists of the study of the method of expression and the technique of works of art. The main territory of art history should be founded on the study of style, to define the development of style changes, and to attempt to date each work of art. The history of styles necessitates a wide range of research, to include period style, national style, regional style, and individual style. Such research should additionally clarify the essence and meaning of the creative arts in general and the mutual relationship between origins and speciao characteristics in each category of works of art. Futhermore, it is necessary to go on to explore the philosophical charification of the meaning of the work of art, in other words the sensitive recognition of truth, or aesthetics. In such a case, Buddhist art becomes the object of appreciation, its craftsmen could be regarded as artists. On the other hand, in Buddhist art, the study of iconography seeks to idenify the subject and its symbolism. Iconography changes, and new types apperar. There is a strong tendency for iconography to follow fixed rules, which are adhered to by later artists. Changes and innovations in iconography are directly linked with the changes in the religious system. The latter of course expresses doctrinal teachings, but this system can also be a reponse to the religious demands of the assembly. The study of iconography is in the end directed towards iconology. If Buddhist art is studied from the aspect of iconography, it will not be appreciated as a work of art, but as the object of worship. Hence, style and iconography have different methods of approach, and different purposes. Art historians either concentrate on style analysis or on studies of iconography, according to their own methodology. In the study of style, one should have a good eye ; in the study of iconography, this faculty is not so essential. Problems of style may be solved through influences from other countries, but problems of iconography can usually be solved within each country. The ideal methodology of art history should be a parallel study of both style and iconography. This is because, on the bas is of style analysis, the study of iconography becomes possible Iconographical study, on the basis of dated works of art, as an important ideological and intellectual role in the reconstruction of the history of thought, religion and society. If art hisiory is based only on one or the other, the result will be unbalanced, like a cart with only one wheel. The different relationships between style and iconography in the study of art history can be set out schematically as follows
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