수대 돈황 막고굴과 장안·낙양 : 통일 그리고 Silk Road Dream

양은경 ( Yang Eun Gyeng ) 중앙아시아학회 2020 中央아시아硏究 Vol.25 No.2

This study explores East-West cultural interactions during the Sui dynasty by examining the structures and murals of the Dunhuang Mogao Caves, also known as the Thousand Buddha Grottos, which so far have received less attention than their importance merits. It focuses on the relationship between Dunhuang and the Changan and Luoyang regions, rather than on the interactive relationship between Dunhuang and the countries to the west of China hitherto emphasized by academic circles. Furthermore, it examines the important role that Dunhuang played during the Sui dynasty and the impact of the revival and subsequent frustration of Sui Emperor Yang's pipedream Silk Road initiative on the Dunhuang Mogao Caves. First of all, in terms of the grottos' structure, the central-pillar grottos, which were prevalent in the Northern and Southern dynasties, continued into the Sui dynasty, but there was a change in both the shape and height of the central pillar and in the Buddha statue enshrined in the central pillar. The overall structure has been confirmed as forming a set relationship with the three-wall structure, each wall having a niche. Investigation of the Mogao Caves has identified not only the popular but short-lived three-wall structure with niches characteristic of the Sui dynasty, but also a cave structure with an altar set into the front wall (正壁設壇窟), which was only built during the reign of Emperor Yang of Sui, and a cave structure with three walls, each with an altar (三壁設壇窟). These grotto structures have all been found to share similarities with those in the regions of Hebei, Henan, and Shanxi, which date from the Northern and Southern dynasties to the Sui dynasty. In addition to the different grotto structure, the Sui Mogao Caves contained fewer of the murals of the Buddha's Life Story and the Buddha's Previous Birth Story popular during the Wei-Jin and Northern and Southern dynasties, and instead featured a new style of mural, “Paintings of Sutras”. First, the Murals of the Vimalakirti Sutra in the Sui Mogao Caves depict statues of Vimalakirti and Manjusri sitting inside house-shaped buildings. In fact, this layout differs from that of the Mogao Caves in the Northern and Southern dynasties, and rather seems to be connected with the sculptures inside the grottos, represented by the Liushi Cave of the Longmen Grottos, in the Henan region. A close examination of the painting of the Amitabha Buddha's Pure Land in the Sui Mogao Caves, with the focus on the canvas structure expressing the Western Paradise World and the posture of the Amitabha Triad, revealed many similarities with those of the Nan Xiangtangshan Caves in Northern Qi. The newly discovered details of the structure and murals of the Sui Mogao Caves are different from those of their counterparts in Central Asia, which were strongly reflected in the Dunhuang grottos in the Wei-Jin and Northern and Southern dynasties, and are closely connected with the grottos in the Changan and Luoyang regions of Eastern China in particular. This suggests that, during the Sui dynasty, there was a close interaction between the Dunhuang region and the Changan and Luoyang regions. Among such interactions, human interactions are deemed the most important. First, as regards the movement of people, the examination of history books and cemetery names has made it possible to identify political officials who were appointed to the Dunhuang area from inland China. Second, when the Stupa to Emperor Wen of Sui was erected in 601, it is noted that the monk Jiui, who stayed in the Mogao Caves Jisang monastery-Sunggyo Temple for several years after being sent there, was identified as a monk of Northern Qi lineage. Furthermore, analysis of the Buddhist scriptures discovered in Dunhuang revealed that the monks who lived in Changan moved to the Dunhuang area, suggesting the spread of the Buddhist culture of the Changan and Luoyang regions. Lastly, Emperor Yang's Silk Road initiative was presented as the reason for and background to the massive change that occurred once again in the Mogao Caves during the reign of Emperor Yang of Sui. Emperor Yang sent Baegu to Dunhuang on a diplomatic mission with various western countries, and he himself traveled to the Hexi region in 607. This fact is presumed to constitute the background to the major changes that occurred in Dunhuang, a key center of East-West exchange at that time, and in the Mogao Caves. However, Emperor Yang's Silk Road initiative lost its force with the fall of the dynasty, and, as a result, it is presumed that the excavation of Mogao Caves and new elements also lost the light of their glory.

주요 우울 장애, 정신분열병, 양극성 장애 및 정상 대조군에서의 N100 진폭경사

양은경,이승환,오성희,김상래,Yang, Eunkyoung,Lee, Seung-Hwan,Oh, Sunghee,Kim, Sangrae 대한생물정신의학회 2009 생물정신의학 Vol.16 No.3

Objectives : N100 amplitude slope(the intensity dependence of the cortical auditory evoked potentials) is widely considered as an indirect indicator of central serotonergic neurotransmission. However, there are only a few studies about N100 amplitude slopes of major psychiatric disorders. In this study, we examined N100 amplitude slope differences among major depressive disorder(MDD), bipolar disorder(BD), schizophrenia (SCZ) and normal controls(NC). Methods : We measured the N100 amplitude slopes of 35 patients with MDD, 33 patients with BD, 27 patients with SCZ and 35 NC subjects. Amplitude differences from N1 to P2 at the five different sound intensities(55, 65, 75, 85 and 95dB) were examined at Cz electrode. The N100 amplitude slope was calculated as the linear regression of five N1/P2 peak-to-peak amplitudes across stimulus intensities. Results : BD patients showed significantly reduced N100 amplitude slope compared with NC(0.54${\pm}$0.70 vs. 0.96${\pm}$0.72, p=0.035). N100 amplitude slope of SCZ patients was significantly reduced compared with NC(0.50${\pm}$0.47 vs. 0.96${\pm}$0.72, p=0.027). N100 amplitude slope of BD patients was significantly lower than that of MDD patients(0.54${\pm}$0.70 vs. 0.94${\pm}$0.60, p=0.046). SCZ patients also showed significant reduction of N100 amplitude slope compared with MDD patients(0.50${\pm}$0.47 vs. 0.94${\pm}$0.60, p=0.036). There was no significant difference of N100 amplitude slope between MDD patients and NC(0.94${\pm}$0.60 vs. 0.96${\pm}$0.72, p=1.000). Conclusion : Interestingly, the N100 amplitude slopes of BD and SCZ were reduced compared to NC and MDD patients. Our results suggest the predictive use of N100 amplitude slope in making differential diagnoses of major psychiatric disorders. Clinical implications of N100 amplitude slope in major psychiatric disorders were discussed.

수대 장안,낙양지역 불교조각 연구

양은경 ( Eun Kyong Yang ) 한국불교미술사학회 2002 강좌미술사 Vol.18 No.-

The style of Buddhist sculptures in Ch`ang-An and Lo-Yang regions during Shi Dynasty basically took over the characteristics of the Northern C`hi and the Northern Zhou Dynasty and had the regional characteristics as well. Furthermore, the style the sculptures of Ch`ang-An and Lo-Yang regions was combined and mixed with east and west regions and south and north regions due to the nation wide unification during Sui Dynasty. Especially, the style of the Northern Chi brought influences in east, west and other places with Ch`ang-An, capital city. For instance, Buddha garments, such as Y-shaped patterning robe, thick layered robe, the robes covering the pedestal, knotted upper garment, U-shaped pattering cloth, mudra holding clear vase or willow branches on each hand. However, the style of buddhist sculptures during Dynasty was unified and continued to Early T`ang Dynasty. The coverig mode from the nothern C`hi, taking over the style of the northern C`hi capital Yeh had been spreaded in the center of Lo-Yang, another capital during late Sui dynasty and it inflenced to not only Lo-Yang area, Ch`ang-An area Briefly, Buddhism was combined with east and south area from the center of Ch`ang-An and Lo-Yang and the style of Buddhist sculpture from Ch`ang-An area had influence to other areas. Nationwide archeological and political unification led the style of Buddhist sculptures to the unified on during Sui Dynasty. moreover, movement of ministers and monks through all regions during Sui Dynasty helped the unification more naturally happen both capitals It is clear that the style of Buddhist sculpture in Northern C`hi, the North and South Dynasty was different, even though they influenced each other during late the North and South Dynasty. But it started to become on unified style from Ch`ang-An and Lo-Yang during Sui Dynasty with the unification and this unified style continuously influenced to the next Dynasty, T`ang. This fact is the biggest significance of Suk Dynasty to Buddhist sculpture. However, there`s still regional characteristics remained in spite of the unification. there are lots of differences in materials for sculptures as well. there were lots of S´akyamuni Buddha discovered in Ch`ang-an, where as there were many Amitabha Buddha and Maitreya in Lo-Yang The Buddhist sculpture in Ch`ang-An and Lo-Yang influenced each other and got development with buddhism and it continued T`ang dynasty There are relations with Ch`ang-An style and Lo-Yang style which has Lung-mun caves in Ze Tian Wu Hou the years of reign and the style of Buddha from Ch`ang-An and Lo-Yang regions gave influences to nationwide area. Therefore, understanding the characteristics of Buddhist sculpture during Sui Dynasty is important that it offers the fundamental information for studying more about T`ang Dynasty

보육교사의 모바일 알림장 사용 경험에 대한 질적연구

양은경(Yang Eun-Kyung) 한국정보기술학회 2018 Proceedings of KIIT Conference Vol.2018 No.6

문화연구의 신수정주의 패러다임과 대중문화 비평 : 한국의 사례를 중심으로

양은경(Yang Eun Kyung) 서울대학교 언론정보연구소 2000 언론정보연구 Vol.37 No.-

혈액투석 환자의 식사요법 적응 경험

양은경(Yang, Eun Kyung),김일옥(Kim, Il-Ok) 한국성인간호학회 2016 성인간호학회지 Vol.28 No.3

고대 한국인의 중국 내 사원, 불상 조성과 중국 불교문화와의 관계 : 삼국~통일신라시대를 중심으로

양은경 ( Eun Gyeng Yang ) 한국불교미술사학회(구 한국미술사연구소) 2007 강좌미술사 Vol.29 No.-

남조 목탑의 축조기법과 주변 국가와의 교류 - 남경 西營村 목탑지를 중심으로

양은경 ( Eun Gyeng Yang ) 백제학회 2022 백제학보 Vol.- No.42

The construction technique of a stylobate for wooden pagodas built in Xiyingcun(西營村), Nanjing, China during the Southern Dynasties period was confirmed as rammed earth using a combination of earth and stones, considering that its technical level was at a basic stage. This rammed earth technique has not been found in other heritage artifacts from the Southern Dynasties except the wooden pagodas in Xiyingcun. However, it was discovered in a more technically advanced style from wooden pagodas built during the Northern Dynasties, which was about 50 to 100 years later than the previous period. Then, after some 50 years, in Korea, Baekje’s stone pagodas and Silla’s wooden pagodas have come to exhibit the same rammed earth technique, but are slightly changed further than before. The rammed earth core technique using earth and stones, which is found in wooden pagodas built during the Southern Dynasties in the mid and late fifth century in China, seems to have been transferred from the Southern to Northern Dynasties and from the Northern Dynasties to Baekje and Silla in Korea. However, such a hypothesis must still be proved, so this study focuses on other techniques of constructing wooden pagodas such as a central pillar foundation and pagoda interior. In conclusion, it was estimated that the construction structure of wooden pagodas of the Southern Dynasties in Xiyingcun has included a capital pillar placed deep underground without a pagoda interior on the ground, but is made of purely wooden materials connected to each other. In this regard, the conclusion drawn in this paper is due to studying both the past research results based on documented records and the latest excavation results of wooden pagodas in Xiyingcun. Above all, it was thought that wooden pagodas of the Southern Dynasties are related to the wooden pagodas built during Baekje’s Sabi period and the ancient wooden pagodas of Japan. Thus, the wooden pagodas’ stylobate of the Southern and Northern Dynasties was built using the same construction technique using the rammed earth combining earth and stones. However, the existence or nonexistence of a pagoda interior made them different. Therefore, this study goes further into detailed genealogy of these two origins, rather than just summarizing them. As a result, it was estimated that the Northern Dynasties’s wooden pagodas were built by inheriting the tall platform construction technique to build a high structure from the Western Zhou period, while those of the Southern Dynasties gradually adopted the construction technique, which eventually excluded the rammed earth foundation from the Eastern Han period. In addition, this study seeks to find the cause of the difference between the connection and disconnection of construction techniques used for high wooden structures built in the different periods, from wooden pagodas of the Southern and Northern Dynasties. It was thought that the natural, geographical, and environmental differences between the Southern and Northern Dynasties resulted in the succession and extinction of three different elements such as a combination of earth and stones, pure wooden pagoda, and existence of pagoda interior, let alone the technique to build a high wooden pagoda. Moreover, as a result of studying the ancient exchanges in East Asia during the Northern and Southern Dynasties by synthesizing the construction conditions and techniques of a stylobate and high structures, a different conclusion was drawn from an existing contention. It was estimated that the wooden pagodas of Baekje’s Sabi period and ancient Japan, which are characterized by the rammed earth technique and capital pillar foundation, are connected to the Southern Dynasties. Also, regarding the genealogy of the technique of constructing a wooden pagoda using the rammed earth technique and underground capital pillar foundation, and without a pagoda interior, this study emphasizes on the genealogy of the Southern Dynasties to Baekje and then Japan, contrary to the prevailing presumptions of academia. Most of all, it was judged that the tradition of the rammed earth technique using earth and stones was continued from the Southern Dynasties to Northern Dynasties and Baekje, and then Silla as well. As for the connection between them, the rammed earth technique used aggregate (gravel) for wooden pagodas at the Wangheungsa Temple Site and Yeongjeong-ri Site, which were out of the limelight, was suggested as a connecting link. Regarding the rammed earth technique using large rubble stones found at one of Baekje’s pagoda sites of the seventh century, this study leaves open the possibility of Baekje’s unique characteristics and exchanges with both the Sui and Tang Dynasties.

혜사(慧史) 문명대 교수 정년퇴임 기념 논문집 : 미술사의 작가와 유파 ; 조각 : 중국 산동지역 불상과 한국 삼국시대 불상의 교류 관계

양은경 ( Eun Gyeng Yang ) 한국불교미술사학회 ( 구 한국미술사연구소 ) 2006 강좌미술사 Vol.26 No.1

梁 武帝시기 불교사찰, 불교조각과 사회변화

양은경(Yang Eungyeng) 한국미술사교육학회 2009 美術史學 Vol.23 No.-

During Liang dynasty, Emperor Wu(武帝) who was a Taoist, became a passionate Buddhism. after 504. Emperor Wu built a Buddhist temple in the palace, and hold large scale lectures and Buddhist ceremonies. Chongyundian(重雲殿) is the inside-Buddhist temple which was built by Emperor Wu. It is the two-story structure in Huarinyuan(華林園), and two images of Buddha that was made from gold and silver were enshrined in this temple. Buddhist art is represented by Buddhist temple and sculpture. According to Nanchaofosi zhi(南朝佛寺志), there were 90 Buddhist temples that were built during Liang dynasty, it was the most during the Period of South Dynasties. Wu-di built many Buddhist temples. Zhidu temple(智度寺), Fawang temple(法王寺), Guangze temple(光宅寺), Jietuo temple(解脫寺), Quanshan temple(勸善寺), Daaijing temple(大愛敬寺), Tongtai temple(同泰寺), Huangji temple(皇基寺), Xiaodi temple(蕭帝寺), Zesheng temple(資聖寺), Tongxing temple(同行寺). Most of them was located in the capital, Jiankang(建康), and they were built for his father, mother, wife and a priest of high virtue. Ayuwang temple(阿育王寺), Huangji temple(皇基寺) were still handed down, even though they had been reconstructed in after ages. Recently, a structure that was presumed as a temple site was excavated in Zhongshan(鍾山), Nanjing(南京), moreover Huangji temple(皇基寺) that was a royal tomb temple was also discovered. They are good comparison material. The fact that Emperor Wu built gold, silver, gilt bronze and wooden statues of the Buddha in Guangze temple(光宅寺), Xiaozangyan temple(小莊嚴寺), Daaijing temple(大愛敬寺), Zhongyundian(重雲殿), Tongtai temple(同泰寺) was confirmed by records. In opposition to records, there were few images of Buddha in Nanjing(南京). Most of images of Buddha were discovered in Si-chuan province(四川省). However molding-images of Buddha and gilt bronze statue of the Buddha were discovered in Nanjing recently. Most of images of Buddha in Si-chuan province are discovered in Chengdu(成都), and all of them are stone Buddhist images. Images of Buddha during Liang dynasty were discovered in Minchuan(汶川), Pengzhou(彭州), they were similar to Chengdu. Buddhist temples and images of Buddha during Liang dynasty are splendid and decorative. I confirmed the facts through records and existing examples. The standard are materials of Si-chuan(四川), especially the coat string and pattern of linked pearls. The decorative coat strings are similar to priest´s ritual robes of an emperor, but more splendid. The pattern of linked pearls is decorative, and they are inscribed halo. Thus, aspects of decorative, luxurious and splendid Buddhist art were influenced from irregularities and corruption of aristocratic circles. Also, mandarin sleeve, upper garment and a coat string of Liang dynasty Buddhist images were like the dress and its ornament of the gentry at that time. Those large dresses were resulted from prevalent internal use of Hanshisan(寒食散) which made people having fever. There were Gupta, Mathur? and S?rn?th style during Liang dynasty, and I presumed that those style were introduced by sea routes than by land routes. After becoming the Liang dynasty emperor Wu, he made a good profit from Guangzhou(廣州) and Jiaozhou(交州) by abundant local products and seaborne trade. Moreover he realized the importance of native labor, and established a new state to contrive centralized authoritarian rule. As a result, center and Guangzhou closed adhesion, and seaborne trade prospered. Many nations of East-asia and India had cultural interchanges and Buddhism and Buddhist art of East-asia and India were came into Liang dynasty by a sea routes. 도교신자였던 梁 武帝는 504년 불교로 교화한 이후 열렬한 불교신자가 된다. 무제의 崇佛은 무엇보다도 궁전 내에 佛堂을 건립하고 예배활동과 대규모 강연, 법회를 개최한 것에서 절정을 이룬다. 重雲殿이라는 이름의 內佛堂은 무제가 華林園에 건립한 2층 건물로, 건물 안쪽에는 금, 은불상이 봉안되었다. 양 무제시기 불교미술은 불교사찰과 불교조각으로 대표된다. 南朝佛寺志에서는 양대 건립된 불교사찰의 수가 90여개소라고 하는데 남조시기에서 가장 많은 숫자이다. 무제가 건립한 사찰은 智度寺, 法王寺, 光宅寺, 解脫寺, 勸善寺, 大愛敬寺, 同泰寺, 皇基寺, 蕭帝寺, 資聖寺, 同行寺가 있다. 대부분 수도 建康에 분포하며 아버지, 어머니, 부인, 고승을 위해 건립되었다. 양대 불교사찰 중 阿育王寺, 皇基寺는 후대에 다시 重建되었지만 지금도 남아있다. 특히 최근 남경시 鍾山에서 사찰유적지로 추정되는 건물지가 발굴되었고 양대 陵寺였던 황기사가 발견되어 좋은 비교자료를 제공하고 있다. 문헌기록을 통한 무제의 불상조성 사실은 光宅寺, 小莊嚴寺, 大愛敬寺, 正殿, 重雲殿, 同泰寺의 金像, 銀像, 金銅像, ?檀像이 확인된다. 南京지역의 불상조성과 관련된 일련의 기록과는 달리 지금까지 남경에서 출토된 예는 희소하며 四川省에서 출토된 예가 대다수를 차지하고 있다. 최근에는 남경에서 塑造像, 금동상이 출토되고 있다. 사천성의 불상은 成都市에서 출토된 예가 대다수를 차지하며 모두 석불상이다. 최근에는 汶川, 彭州에서도 양대 불상이 출토되었으며 양식적으로 成都에서 출토된 예들과 유사하다. 양대 건립된 불교사찰과 불상은 아주 화려하고 장식성이 강하다. 이러한 사실은 문헌기록과 더불어 현존하는 예에서도 확인할 수 있다. 사천성 출토품이 기준작이 되며 불상의 옷고름, 聯珠文이 대표적인 예이다. 장식성이 강한 옷고름은 문헌기록에서의 천자의 祭服과 유사하지만 더욱 화려하다. 연주문 역시 광배를 장식하는 주된 문양으로 장식성이 강하다. 이처럼 양 무제시기 불교미술에서 장식성이 강하고 사치스럽고 화려한면은 당시 귀족사회의 부정부패와 극도로 사치스러운 일면을 그대로 반영한 결과이다. 또한 양대 불상 복식에서 넓은 소매와 넓은 웃옷, 내의를 묶은 옷고름(띠매듭)이 넓은 복장 표현의 성행은 당시 사대부의 복식이 그대로 이입되어 표현한 것이다. 당시의 이러한 복식의 성행은 사대부 사이에서 선풍적으로 유행했던 寒食散의 복용의 결과로 몸의 발열로 인해 넓고 큰 복식을 선호하게 되었고 이러한 당시 귀족들의 복장이 양대 불상에도 그대로 표현된 것이다. 양대 불교미술에서는 굽타 마투라, 사르나트식 양식이 출현하게 되는데, 이러한 양식은 육로보다는 해로를 통하여 전래된 것으로 추정된다. 양 무제는 황제로 등극한 후 廣州, 交州지역의 풍부한 물산, 해상 무역을 통한 막대한 이윤, 토착민의 풍부한 노동력의 중요성을 자각하고 새로운 州를 설치하여 중앙의 직접적인 통치를 도모하였다. 그 결과 중앙과 광주는 더욱 밀착되게 되었으며 해상 무역은 더욱 번성하게 되었다. 동남아, 인도의 여러 국가들은 양왕조와 빈번한 교류를 이루게 되었고 동남아, 인도의 불교와 불교미술이 해로를 통해 활발하게 양나라로 유입되게 되었던 것이다.