高麗前期 中部地域의 石佛彫刻 = Stone Buddhist Images of the Early Goryeo Period-With Special Emphasis on the Images Located in the Middle Part of Korea

다국어 초록 (Multilingual Abstract)

This paper investigates surviving stone Buddhist statues and rock-cut images of the early Goryeo period extant in Seoul, Gyeonggi-do(京畿道), Gangwon-do(江原道), and Chungcheong -do(忠淸道). These regions including Yangju(陽州), Gwangju(廣州), Chukju(竹州), Chungju(忠州), and Wonju(原州) of the Goryeo period, which were the strongholds of powerful clans and important areas of commerce and transportation, becoming economically and culturally important from the early Goryeo period. The stone images of these regions are important materials for study of the Buddhist sculpture of the Goryeo period, for they presumably reflect the high sculptural quailty of the sculptures of the nearby Gaesong area, the capital of the Goryeo Dynasty, where very few statues of the tenth century are still extant.
Among the above -mentioned regions, Yangju(陽州), the present-day northwest part of Seoul, and Bukhan Mountain(北漢山) were famous for Buddhist cults and well-known Buddhist temples from the late Unified Shilla Kingdom, Many Buddhist images therefore seem to have been executed in the early Goryeo period, which is culminated in the huge rock-cut Buddha image at Seungga-sa(僧伽寺). Its close similarity with the main Buddha of Seokguram(石窟庵) in their iconography exhibits that some of the Gyeongju(慶州) style was transplanted to the central part of Goryeo. It is also assumed that the tradition of the high Unified Shilla style was partly maintained in this region.
Gwangju(廣州), present-day Hanam city(河南市), whose name means broad province and even included the west part of present day Yeo-ju(麗州), was the base of the powerful clan of Wang Gyu(王規), a father-in-law of Wang Gun( 王達), and his son King Hye-jong(惠宗). Among many Buddhist images from Gwangju, the wall-carved Bhai□ajyaguru Buddha image at Gyosan-dong(校山洞) is worth mention for its delicacy and its inscription of restoration in AD 977. The new aspect of this relief is that this image was rendered in a linear manner and had more pictorial quality than reliefs of the Unified Shilla period.
Chungju(忠州) was known for its powerful clan, the Yu(劉) family, whose daughter became one of Wang Gun’s queens and mother of King Jeong -jong(定宗) and Gwang-jong(光宗). The standing stone Buddha at the temple-site in Wonpyeong-ri(院坪里), Chungju, is monumental. Its bulky body is massive, like stone pillars. This stylistic mode was most likely due to the influence from north part of North Gyeongsang Province, which was easily connected to Chungju by way of the mountain passes of Jukryeong(竹嶺) and Geripryeong(鷄立嶺).
Another feature is the new iconography and style from Song China. The standing stone Buddha image at Juksan-ri(竹山里), Anseong(安城), shows a close similarity in its proportionally large head, stiff, flat-surfaced body, elongaied body-form and way of wearing kasaya--to the wooden Buddha image at Seiryo -ji(淸凉寺), Kyoto, which was imported from Song China in 985 by the Japanese monk Chonen. The
relief of the half-seaated Bodhisattva image in Jangam-ri(長岩里), Icheon(利川), reflects
the new iconography of Maitreya, wearing a high crown decorated with a stupa in the center and holding a Chinese fan called a “tan-sun(團扇)” which appears to be a Chinese modification of a N□gav□k□a(龍華樹), which Maitreya Bodhisattva of the Indian Pala period is normally holding in his hand. Since from the beginning of the Goryeo dynasty, Goryeo maintained diplomatic relations with Song China, it would seem that such relationships provided a channel for artistic influence and that new stylistic trends in Buddhist sculpture were imported from Song China.
Wonju(原州), as ono of the major political centers of the Unified Shilla Kingdom, had many Buddhist temples of various Buddhist schools. Among litany surviving stone images, two seated Vairocana Buddha images(now in the National Museum of Korea, Seoul) are reminiscent of mid -ninth century sculptures in the rendering of their drapery holds, but more secularized and schematized.
At 12m in height, the incised relief image of a standing Bodhisattva on Sorae Mountain( 蘇萊山) in Siheung(始興) is very large. This Bodhisattva image is shown wearing a high crown and long -sleeved garments. High-crowned large Bodhisattva images wearing long -sleeved garments are regarded to have been made in the middle and Batter half of the tenth century, and they have been identified as Maitreya Bodhisattva. The huge size of this image indicates that its execution was sponsored by the contribution of a royal household or powerful clan. It is interesting to note that a celadon kiln-site of the mid tenth century was recently excavated in Siheung. Thus, it can be conjectured that the royal household or powerful clan who
ran this kiln to make celadon porcelain was also a patron for this huge Bodhisattva Image.
Stone Buddhist images of the early Goryeo period demonstrate the continuation and modification of the sculptural style of the Unified Shilla Kingdom. The Buddha image in tole Yangju area of the Goryeo period in the first half of the tenth century is linked with the traditional iconography and style of the Gyeongju region, the capital of Ignified Shilla. whereas the standing Buddha images of the same first half of the tenth century at Chungju reveal the provincial style of the ninth century sculpture of North Gyeongsang province. On the other hand, the standing Buddha image at Anseong and the half-seated Bodhisattva relief at Icheon made in the latter half of the tenth century show new stylistic and iconographic aspects influenced by
the Buddhist art of Northern Song.
Stone Buddhist images of the early Goryeo period in the tenth century display more or less different stylistic features which vary by region, and show how ‘Goryeo sculpture’ formed under the sculptural tradition of Unified Shilla and new influen

목차 (Table of Contents)

• 1. 머리말
• 2. 중부지역의 석불조각
• 3. 중부지역 석불조각의 양식적 특징과 의의
• 4. 맺음말