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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.
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