조선불화 조선 명종대 지장십왕도의 성행과 가정 34 ( 1555 ) 년 지장십왕도의 연구

문명대(Myung Dae Moon) 한국불교미술사학회 1995 강좌미술사 Vol.7 No.-

N/A

조선전기 조각양식의 연구 (1)

문명대(Myung Dae Moon) 이화사학연구소 1983 梨花史學硏究 Vol.13-14 No.-

N/A

新羅 法相宗(瑜伽宗)의 成立問題와 그 美術(上)

文明大(Moon Myung-dae) 역사학회 1974 역사학보 Vol.62 No.-

元曉系 華嚴宗 本尊佛 問題와 三和寺 鐵盧舍那佛像의 硏究

文明大(Moon Myung-dae) 한국미술사학회 2002 美術史學硏究 Vol.- No.236

Studies were made in various aspects on the Iron Virocana Buddha Statue enshrined in Samhwasa (三和寺) Temple in Donghae (東海市), Gangwon province. As a result, a number of important facts were retrieved as follows. First, through the inscription, it was revealed that the main statue of Samhwasa Temple is the Virocana Buddha with the abhaya-dana-mudra. Thus, Samhwasa Temple is presumed to be the Buddhist Sect Temple of Avatamska order. Also, a figure related to Kashkar of the Central Asia is presumed to have been involved in the introduction of this Buddhiest sect. The iron Buddha statue of Samhwasa temple was made by Baek-baek-sa (白伯士) Seok-seung-geo (釋僧炬). while Seok-cheong-muk (釋聽?) and Seok-seung-do-ri (釋僧道利) were the sponsors, and Che-heo (體虛). father, Yeom-jak (念作). mother, sa-mi (沙彌), and Geum-hae (金解) were also involved in the production. Also, Samhwasa Temple was established with the active sponsorship of King Taejo (太祖). founder of Goryeo as part of his policy toward the eastern area. The letters on the mirror are inscribed in reverse, and it would be proper to consider it expresses the truth or symbol of Virocana Buddha. Second. even though the iron Virocana Buddha statue of Samhwasa Temple has been considerably damaged. the face and the upper part of the body maintain the orignal state. And it shows dose relations with the iron Buddha statue known to have come from Jeokjosa (寂照寺) temple site and the iron Bhaisajyaguru Buddha from Janggoksa (長谷寺) temple. It's one of the representative examples of the type of iron Buddha statue with sturdy and tall body and elegant looking face. Third, this iron Buddha statue, therefore, can be defined as an iron Virocana Buddha statue presumed to have been established around 930 A.D. Stylistically, it can be located before the iron Buddha statue known to have come from Jeokjosa (寂照寺) Temple dated around 937 A.D. and iron Buddha statue from Mangisa (萬奇寺) Temple dated 942, and after the iron Buddha statue in Gwangju and the iron Buddha statue presumed to have come from Bowonsa (普願寺) Temple site dated around 900 A.D. Lastly, the iron Buddha statue of Samhwasa Temple is the Virocana Buddha with the abhaya-dana mudra. It must be focused as an important and precious material which shows what the stylistic characteristics of the main statue of the Buddhist Sect of Avatamska order of Wonhyo lineage are like. The iron Virocana Buddha statue is judged as important work in the study of the history of Buddhist sculpture and the religion of Silla.

新羅 法相宗(瑜伽宗)의 成立問題와 그 美術(下)

文明大(Moon Myung-dae) 역사학회 1974 역사학보 Vol.63 No.-

밀양 얼음골 천황사 사자좌 석불좌상 약고

문명대(Myung Dae Moon) 한국불교미술사학회 1994 강좌미술사 Vol.6 No.-

N/A

신라 사천왕사(四天王寺) 사천왕,팔부중상(四天王,八部衆像)의 성립문제와 석굴암 사천왕,팔부중상의 도상 변화

문명대 ( Myung Dae Moon ) 한국불교미술사학회 2012 강좌미술사 Vol.39 No.-

사천왕상(四天王像)은 가장 중요한 불교도상 가운데 하나이다. 특히 대승불교권 가운데 불교를 신봉하는 국가에서의 사천왕상은 특별한 의미를 가진다. 국가를 수호하고 모든 재난을 소멸시키고 일체의 원적들을 물리치는 국가적 수호자이기 때문이다. 뿐만 아니라 호국신앙의 결정체인 사천왕상은 호국은 물론 불법(佛法)을 외호하고 부처님을 지켜주는 역할을 담당하기도 해서 더욱 크게 중요시 되었다. 사천왕이 우리나라에 수용된 것은 삼국시대인데 초기에는 제석신앙과 함께 들어 왔지만 삼국통 일기에는 독자적으로 개성 있게 발전되어 성황을 이루기 시작했다고 믿어진다. 통일기부터 많은 사천왕상이 공예(사리기 등)에 묘사되거나 탑에 부조로 새기거나 조각이나 회화로 조성된 예들이 상당히 많이 현존하기 때문이다. 이러한 사천왕상 가운데 신라시대에 있어서 호국과 호법(護法)에 충실했던 가장 영험했던 상이 수용기의 사천왕사(四天王寺) 사천왕상과 절정기의 토함산 석굴 사천왕상이라 할 수 있다. 이들 중 사천왕사 사천왕상은 현존하지 않고 있으나 그 대신 사천왕상의 직속 장수인 팔부중상 또는 8 부 신장상은 남아있고 탑지에서 3 종 8 부중상이 출토되어 이 상이 8 부중상인지 사천왕상인지에 대한 논의가 현안의 과제로 부각되고 있다. 이와 함께 토함산 석굴 사천왕상과 그 권속인 8 부중상이 현재도 잘 남아 있어서 크게 중요시 되고 있다. 여기서는 현존하지 않는 사천왕상과 현존하고 있는 사천왕상 등 두 사천왕상에 대해서 먼저 그 조성배경을 밝힌 후 일반적인 사천왕상이 삼국시대에 우리나라에 수용되었다는 사실을 간략히 살펴보았다. 아울러 팔부중상에 대해서도 함께 논의하였는데 사천왕사 목탑의 발굴에 의하여 밝혀진 24 구의 신중상은 사천왕 8 부중으로서 3 종 8 부중이라는 사실을 밝히게 되었다. 이 사천왕사 4 천왕 8 부중상을 계승하고 더 진전시킨 토함산 석굴암 사천왕상과 팔부중상은 석굴의 불상을 외호하는 사천왕상과 불타 8 부중상이라는 사실 또한 밝힌 것이다. As the excavation of the ruins of Sacheonwang Temple for years have been finished meanwhile, discussion about whether the godly figures found from the base of a wooden pagoda in the temple are 8 Devas, 4 Guardian Kings, or Godly Kings of Gwanjeonggyeong rises again. That is to say, it has risen as one of the most important core issues in the study of the history of ancient sculpture. In contrast, the statues of 4 Guardian Kings in Soekguram attracts great attention as they are taken to have been built at the stage of completion, and to be representative figures at the stage where the iconographic characteristics of 8 Buddha Devas beyond the status of 4-Guardian-Kings-&-8-Devas including those in Hwangryong Temple and Cheonwang Temple. Thus, this article tries to clarify several points about the importance of those figures in the development of statues of 4 Guardian Kings and 8 Devas in Korea First, the background of the creation of the statues of 4 Guardian Kings. We can tell that sorts and characteristics of 4 Guardian Kings and 8 Devas originated from Jangahamgyeong, a version of Ahamgyeong, Geumgwangmyeonggyeng succeeds 4 Guardian Kings and 8 Buddha Devas, and both Geumgangmyeonggyeongso and Inwanggyeongso of Giljang succeed the 4 Guardian Kings and 4-Guardian-Kings-&-8-Devas as well as 8 Buddha Devas of Jangahamgyeong. In addition, Gwanjeonggyeong and Gwanbulsammaehaegyeong also made great contribution to the foundation and development of the statues of 4 Guardian Kings and 8 Devas. Second, as for the system of Sinjung, in particular Mahayana Buddhism, i.e. so called Sect Buddhism, maintains the system of Indra, 4 Guardian Kings, 8 Devas (4-Guardian-Kings-&-8-Devas and 8 Buddha Devas), and Gwijol, which Sacheonwang Temple is completely equipped with. Third, given that 4 Guardian Kings and 8 Devas originated from India, were imported into Si-Yu and China, and were introduced into Korea, it is found out that figures of warriors also originated from the Gandhara Region at Northwest India, were imported into Si-Yu and then into China, and fully bloomed in Korea. Fourth, it is shown that Sacheonwang Temple is a representative example of a temple equipped with the system of Sinjung with Indra and its dependents, the statues excavated from the base of the pagoda are not 4 Guardian Kings but 3 kinds of 8 Devas despite the requirement of the system of Sinjung that only 4 Guardian Kings exist, and that they are 4-Guardian-Kings-&-8-Devas, an early form of 8 Deva figures along with the 8 Devas on the Serira ware at Hwangryong Temple. Fifth, compared with these, it is found out that the 4 Guardian Kings and 8 Devas at Seokguram are developed from the 4 Guardian Kings and 8 Buddha Devas advanced from those at Sacheonwang Temple. Sixth, the Iconography of the 4 Guardian Kings at Seokguram features Gye-in, a unique Mudra, which is clear from what Daranijipgyeong states in detail. Of course, though the Mudra of Bongbotap of Bukbangdamunchoen existed much earlier than Daranijipgyeong, we can assume that it is a result of the oral transmission of the iconography of 4 Guardian Kings compiled as icons in India`s Daranijipgyeong style books originating because they are in charge of external protection of the Serira of the Pagoda of Bisamucheon, a kind of Damuncheon. Seventh, this article clarifies the fact that the iconography of Seokguram`s statues of 8 Devas, as a universal iconography based on statues of 8 Buddha Devas, is the first example of the iconography of the figures of 8 Buddha Devas in earnest, and we can say that it has great significance as the root of figures of 8 Buddha Devas found from bases of pagodas. As for the iconographic characteristics, this article shows that they are expected to make great contribution to the study of East Asian Buddhist Iconographies as they are unique iconographies created by Silla on the basis of the iconographies of Esoteric Buddhism like Gwaneumeuiso or Seopmuaegyeong and also with reference to numerous iconographies from the perspective of Sect Buddhism.

민화의 성격과 불화와의 관계

문명대(Moon, Myung-dae) 한국민화학회 2013 한국민화 Vol.- No.4

Gandhara 사원구조와 불상조각 특집 : 2부 Gandhara 불상조각의 새로운 연구과제 ; Gandhara 불상조각 연구의 과제

문명대 ( Myung Dae Moon ) 한국불교미술사학회 ( 구 한국미술사연구소 ) 2004 강좌미술사 Vol.23 No.-

1711년 법종(法宗)작 목조 관음보살좌상의 복장품과 도상학 연구

문명대 ( Moon Myung Dae ) 한국불교미술사학회(한국미술사연구소) 2019 강좌미술사 Vol.52 No.-

청원산 신흥사 목조 관음보살상의 연구 성과는 다음과 같다. 첫째, 이 목조 관음보살상은 복장품에서 발견된 조성발원문에 의해서 1711 년에 유명한 조각승 법종(法宗)이 청원산 신흥사에 봉안한 보살상이라는 사실을 알 수 있다. 둘째, 법종 조각승이 조성한 아미타 삼존상 가운데 좌협시인 관음보살상으로 판단된다는 사실을 밝힐 수 있었다. 셋째, 양식상 법종이 조성한 1708 년작 삼경사 아미타불상과 거의 유사한 특징의 보살상이고 신흥사 아미타불상과 동일한 특징을 가진 얼굴이 통통하고 상체가 가는 사각형인데, 이에 비해 하체는 유난히 높고 크고 넓은 특징을 보이고 있어서 법종 불상 양식임을 잘 알 수 있다는 것이다. 넷째, 이 보살상의 복장에서 발원문, 후령합, 묘법연화경(3 종), 다라니 등이 발견되어 조선후반기 제 1 기 불상의 복장연구에 크게 기여할 수 있다는 점을 밝힐 수 있다. 다섯째 이 보살상은 여러 점에서 조선후반기 제 1 기의 조각사 연구에 큰 의의를 가진 보살상이라는 점을 알 수 있다. The results of the study on the wooden Avalokitesvara at Shinheung temple in Cheongwon mountain are as follows. First, it can be seen with the composition votive text found in the costumes items that this wooden Avalokitesvara is the Bodhisattva enshrined at Shinheung temple in Cheongwon mountain by the famous monk sculptor Beopjong(法宗) in 1711. Secondly, it can be concluded that the Avalokitesvara is considered to be as Avalokitesvara of Jwahyeopsi among the Amitabha Buddha Triad constructed by the monk sculptor, Beopjong. Third, in terms of the style, it is the Bodhisattva, which is similar to the Amitabha Buddha Statue at Samgyeong temple which was built in 1708 by Beopjong, and has a plump face and a squared upper body with the same features of the Amitabha Buddha Statue at Shinheung temple. In contrast, the lower body is exceptionally high, large and wide, indicating that it is a Buddhist statue of Beopjong style. Fourth, the votive text, Huryeonghap, the Lotus Sutra (3 types) and Dharani, etc. were found in the Bodhisattva costumes, demonstrating that it can contribute to the study of costumes of the first stage Buddhist statue in late Joseon. Fifth, this Bodhisattva is a Bodhisattva, which has great significance in the study of sculpture history of the first stage in late Joseon in various points.