진천군의 문화유적

김춘실 충북대 박물관 1998 조사보고 Vol.60 No.-

日本 <善光寺緣起>에 보이는 百濟 佛敎受容의 一例

김춘실 충남대학교 백제연구소 2007 百濟硏究 Vol.45 No.-

한국 三國時代 불교미술은 관련 문헌자료가 극히 적게 남아 있다. 그런데 삼국과 밀접한 관련이 있던 日本의 경우는 불교미술품과 더불어 관련 문헌자료가 함께 전하고 있는 예가 많아서, 삼국시대 불교미술사의 복원에도 많은 도움을 준다. 이와 같은 맥락에서 백제 불교의 모습을 전하고 있다고 생각되는 일본의 <善光寺緣起>와 善光寺式 一光三尊佛像들을 살펴서, 백제 불교미술의 한 例를 복원해 보고자 하는 것이 본 글의 목적이다. 攀* 忠北大學校 考古美術史學科 敎授* 이 논문은 2005학년도 충북대학교 학술연구지원사업의 연구비 지원에 의하여 연구되었음.攀攀 Very few documents on Buddhist art have remained during the Three Kingdoms Period of Korea. On the other hand, many documents from Japan, as is related to the Three Kingdoms Period, are of great help to the restoration of the history of Buddhist art during the Three Kingdoms Period. In this context, this study aims to reconstruct an example of Buddhist art of Baekje, investigating Zenkoji Engi (<善光寺緣起>) and the Zenkoji style Buddha Triads(善光寺式 一光三尊佛像), which are presumed to reflect Baekje Buddhism. * Professor, Dept. of Archaeology and Art History, Chungbuk National University * This work was supported by the research grant of the Chungbuk National University in 2005. Consequently, the primitive Buddha Triad of Zenkoji passed on to Japan, as the background of Zenkoji Engi<善光寺緣起>, is gilt-bronze ones from the late 6th century. In the nimbus with seven Nirmanakaya(7化佛), Buddha has an Indo-style of clothes and the two Bodhisattva images are presumed to be Bodhisattva images with cintamani. Further, considering the existing documents, Buddha Triads including Bodhisattva images with cintamani were presumably made in Baekje with the religious background of Sadaksaravidya-mantra (ꡔ請觀音經ꡕ) in close relation to the Chinese South Dynasty, rather later than Buddha Triads from Henan or Shantung, and afterwards it seems to have been widely spreaded in Japan. From the above, it could be made sure that the Buddhist art of Baekje is closely connected with the Chinese South Dynasty and Japan and presumably with Buddhist culture through the sea route of South Dynasty as well.

팔공산 관봉 석조여래좌상의 양식 특징과 조성 배경 - 통일신라기 五岳信仰과 관련하여

김춘실 불교미술사학회 2013 불교미술사학 Vol.15 No.-

통일신라말~고려전기 전법륜인 석불입상의 고찰

김춘실 충북대학교 중원문화연구소 2011 중원문화연구총서 Vol.15 No.-

-본문참고-

三國時代의 金銅藥師如來立像 硏究

김춘실 국립중앙박물관 1985 미술자료 Vol.- No.36

It is noteworthy that these are no fewer than 15 standing gilt bronze Bhaisajyaguru Buddha statues of strikingly similar shapes from the 7th centry Silla. They may be regarded to form a unique group by themselves. Their common features include child-like facial expression, rather rounded body contours and simplified robe folds. In addition to these characteristics which are more or less common on all 7th century Buddhist statues, the these statues have robes covering the left shoulder, taking the tribhanger posture while the majority of the 7th century Buddhist statues have robes covering both shoulders and standing erect, holding cint -mani in the right hand. The articles under the headings off Milonchoisa (密本? 邪) in the Vol. of Samgukyusa (三國遣事) contains an important historical account as to why this type of Bhaisaiyguru Buddhas had been made. This historical account, study of the style of the 15 statues, and the fact their provenances are mostly in Ky ngsangbuk-do province, lead us to believe that these 15 statues had been made mostly in Silla in the lent half of the 7th century A.D. and they were fashionable in the period. Examples of Chinese Buddhist statues with the similar features although limited in number include one in the grotto of Hsiang-t'ang Shan Mountain, China dating from Northern Ch'i, and another dated by inscription to ninth year of chinbo (天保 9年, 558 A.D.) whose rubbing is in the collection of Mr. Sickman, Kansas City. (Kansas, U.S.A.) The two Chinese figures are generally believed to be related to Buddhist statues of south India or such areas under south Indian influence as Ceylon or Southeast Asia. It, therefore, follows that this kind of unique style of Bhaisaiyaguru Buddhas of Silla period had south Indian or Ceylon origin. And also the model (statue) of these Bhaisajyaguru Buddha statues are supposed to be Buddha statues that introduced from India to Korea by way of Southeast Asia by sea.

특집논문 : 서산지역의 백제문화 ; 백제(百濟) 서산마애삼존불상(瑞山磨崖三尊佛像)

김춘실 공주대학교 백제문화연구소 2005 백제문화 Vol.34 No.-

비인 캠프장 일대의 식물상

김춘실 이화여자대학교 자연과학대학 1972 梨花 自然 Vol.3 No.-

증평 남하리사지 마애불상군 고찰

김춘실 미술사학연구회 2018 美術史學報 Vol.- No.50

Namha-ri Temple Site is the location standing on the mountainside behind the village of Namha 3-ri in Jeungpyeong. The locations of remains and condition of the Buddha rock carvings at the site indicate that they date from a very early period. Several huge natural rocks sit together to create the form of a stone chamber; five Buddha images are carved into three of the rock faces, while a threestory stone pagoda presumed to date from the Goryeo period stands in front of the carvings. A standing Buddha triad is carved into the broad front face of the rock. The central Buddha figure is approximately three meters high-relatively tall for a Buddha carving. Directly below the Buddha’s pedestal is an unusual flowing spring. The surface of the rock has been cut away slightly in the shape of a shrine and each Buddha has been carved in relatively high relief, but the folds of their robes are rendered in carved lines and the details of their features are somewhat indistinct. But it is notable that the overall composition of the triad and the depiction of the Buddha and bodhisattvas show characteristics associated with Three Kingdoms period. On the left side of the rock is a relief carving of a standing Buddha with a robe covering its left shoulder. This, too, is relatively tall for a Buddha carving, measuring 2.53 meters in height. Its face is quite round but its features are worn away and indistinct. Another rock stands immediately to the right of the front face on which the triad is carved, there is a faint pensive Bodhisattva. This carving measures 2.11 meters in height, making it relatively tall, and depicts the Bodhisattva from a slightly oblique angle. The back of the rock is separated from the cliff behind by only a small space, giving the site the appearance of a stone chamber temple. Despite its smaller scale, it calls to mind the Buddhist site at Mt. Danseok in Gyeongju. The Buddhist carvings at Namha-ri thus do not show exquisite carving technique. But they are notable for the affinity that they show with Buddhist carvings from seventh-century Silla in the Three Kingdoms period, from their grotto temple feel to the iconographic characteristics and combination of the triad, the standing Buddha with a robe on its left shoulder and the pensive Bodhisattva. Based on the above considerations, it can be inferred that the Namha-ri Buddhist carvings were produced once Silla had gained stable control of what is now the Chungcheong Bukdo region. This means that the Namha-ri site is highly important as the location of the only Buddhist carvings associated with Silla’s advance north during the Three Kingdoms period. 남하리사지는 증평읍 남하3리 마을 뒷산 중턱에 자리잡은 옛 절터로, 유적이 자리잡은 위치나 마애불의상태 등이 매우 시대가 올라가는 불적임을 보여준다. 커다란 자연 암반이 어우러져 석실형태를 이루었는데 바위면 3곳에 불상이 5구 새겨져 있고, 앞쪽에 한쪽 옆으로 고려시대로 추정되는3층 석탑이 서 있다. 바위의 넓은 앞면에 삼존불입상이 새겨져 있는데, 본존상의 높이가 약 3m 정도인 비교적 큰 마애불이다. 본존상 대좌 바로 아래에는 특이하게도 물이 고이는 샘이 있다. 바위면을 약간 감처럼 파고 각 삼존상을 비교적 고부조로 새겼으나 옷주름선은 선각이고 세부 표현이 다소 불분명하다. 그러나 삼존불의전체 구성이나 불·보살상의 표현이 삼국시대의 특징을 보이고 있는 점이 주목된다. 암반의 왼쪽 측면에는 편단우견의 착의법을 한 독존의 여래입상이 부조되어 있다. 이 상의 높이 또한2.53m이어서 비교적 큰 상이다. 얼굴이 둥근 편이나 상호는 마모되어 불분명하다. 한편 삼존불이 새겨진 정면의 오른쪽으로 또 다른 바위가 인접해 있는데, 불상을 바라보는 면에 선각으로 독존 반가사유상이 희미하게 조각되어 있다. 이 상도 전체 높이 2.11m인 비교적 큰 상이며, 약간 옆에서 바라 본 측면 모습의 반가상이다. 암반 뒷면은 좁은 공간을 두고 석벽이 잇대어 있어서 마치 이곳이 석실사원처럼 보이는데, 규모는 작지만 마치 경주 단석산 불적을 보는 듯하다. 이처럼 증평 남하리사지의 마애불상들은 조각수법이 정교한 편은 아니나, 단석산 같은 석굴사원의 분위기와 함께 삼존불상과 독존의 편단우견 여래입상, 그리고 반가사유상까지 도상 특징이나 상의 조합모든 면에서 삼국시대 7세기 신라의 불상들과 깊은 친연성을 보여서 주목된다. 이상의 고찰로 보건대 남하리사지 마애불상의 조성시기는 도상의 조합이 모두 삼국시대에 유행한 것이고 조각양식 또한 고졸한 특징을 보여서 7세기 전반경으로 추정할 수 있다. 그리고 조성국가는 세부표현의 어눌함이나 특히 신라지역에서만 유행한 토속성이 강한 편단우견 여래입상으로 인해 무엇보다도 고신라로 추정된다. 특히 절터가 산의 중턱에 위치하고 또한 커다란 암반이 어우러져 자연적인 석실형태를 이루고 있는 유적의 전체 모습이나 삼존상, 독존의 편단우견 여래입상, 그리고 반가사유상 등으로 구성된 마애불상군의 도상 조합, 그리고 조각양식의 어눌함 등은 경주 단석산 마애불상군을 마치 이곳에 재현해 놓은 듯하다. 이처럼 남하리사지 마애불상은 삼국시대 7세기의 신라 불교문화를 그대로 반영하고 있는 것으로 볼때, 신라가 충북지역을 안정적으로 지배하게 되면서 조성된 불상으로 추정된다. 즉 남하리사지 마애불상은 충북지역에 있는 삼국시대의 신라 북진과 연관된 유일한 불상이며 따라서 남하리사지는 매우 중요한불적임을 알 수 있다.

東北亞 6~7세기 불교조각사에 있어서 百濟조각의 의의

김춘실 충청남도역사문화연구원 2008 충청학과 충청문화 Vol.7 No.1

中國 北齊·周 및 隋代 如來立像 樣式의 전개와 특징 : 특히 如來像의 服制와 관련하여

김춘실 국립중앙박물관 1994 미술자료 Vol.- No.53

Nothing the close relationship between the changes of styles of Buddhist statues of Northern Ch'i·Chou and Sui Dynasties of China and the robe drapery forms of Buddha statuesm this paper studies the beginnig and the development of the robe drapery forms of Buddha statues. This paper studies the beginning and the development of the robe drapery forms with emphasis on the robe drapery forms on standing Buddha images. In the Northern Ch'i Dynasty the robe on Buddhist statues became thin, with its lower ends growing modest rather than spread wide. In other words the style of the robe became subdued and wholesome. With the change in the style came changes in robe drapery form. One of the changes was that while on Buddhist images of the Northern Wei type the robe had been draped on the left forearm, the robe was draped on the left shoulder on Northern Ch'i Buddhist images. Chinese sculptural history says that the style of Buddhist statues after the Northern Ch'i Dynasty was characterized by the sense of volume and that other features had been influenced by Gupta Buddhist images introduced by Liang of the So uthern Dynasty. The robe drapery form of northern Ch'i style which involved draping the shoulder was closer to the Gupta melian style than the Northern Wei robe drapery form. W find that the Gupta melian influence on Northern Ch'i Buddhist images went beyend the sculptural style to the robe drapery form. The same influence has also been confirmed on the tall standing Buddha images sculptured after the Northern Ch'i period. This paper examines the beginning and the development of the Gupta influence by studying the Standing stone Buddha with the inscription of the year corresponding to A.D. 529 excavated in the site of Wanfo- ssu Buddhist temple, the Standing Stone Buddha in the Southern Grotto of Hsiangt'ang- shan, the stone Amitabha Buddha in the collection of the Toronto Royal Ontario Museum of Archaeology, and the stone Amitabha Buddha with the inscription of the year corresponding to A.D. 585 in the collection of the British Museum. In this paper I have proposed the term "Northern Ch'i robe style" as contrasted to the Northern Wei robe style and discussed the meaning of the thought behind the sculpture of Buddhist figures with the Northern Ch'i robe drapery form, maintaining that the Buddhist sculptural style of Northern Ch'i·Chou and Sui was not a style of the transitional period between Northern Wei ans T'ang China, but was an established and completed style with its own beginning, growth, and conclusion.