장곡사 금동약사여래좌상 복장유물의 직물 분석과 제작의미

다국어 초록 (Multilingual Abstract)

This research focused on analyzing the textiles from the Gilt-bronze seated Bhaisajyaguru(Medicine Buddha) Statue in the Janggoksa Temple to examine the textile formation, production method and characteristics of pattern expression.
The sacred objects are total of 46 pieces classified into 60 different types. These sacred objects include 1 piece of incense pouch, 1 piece of norigae, which is a Korean traditional ornament worn by women, 1 piece of dedicatory prayer, 4 pieces of textiles attached on the dedicatory prayer, 6 pieces of textile used for wrapping a silver sarira case, 26 pieces of textile scraps from the Goryeo Dynasty and 7 pieces of textile scraps from the Joseon Dynasty.
The textile used for wrapping a silver sarira case was a size of 45cm and there were 7 different kinds of silk. The dedicatory prayer was made out of red tabby silk and was a width of 48cm and length of 1,058cm. The unique part about this dedicatory prayer was that the original prayer itself and red tabby silk, which consisted of the inscription of those names who avidly prayed, had very high quality textile pieces attached on top, such as twill damask, twill with supplementary silver thread, twill with supplementary gold thread, and gauze. This indicates that those who are included in the dedicatory prayer were wealthy and powerful people.
The norigae, which was discovered for the very first time, used different colors of 22 Jikgeum(gold woven silk) those were extremely detailed and colorfully decorated in embroidery and gold foil. In reference to Jikgeum incense pouch and norigae, we could look into the dazzling accessories culture of Goryeo Dynasty’s women.
The types of silk fabrics vary into cho(thin tabby silk), gyeon(tabby silk), ju(tabby silk), la(complex gauze), sa(simple gauze), mu-meung-neung(non patterned twill), meung-neung(patterned twill), jikgeum(weave with supplementary gold wefts) and janghwa(brocade) and their weaving quality is excellent as well. Especially, the most decorative one is jikgeum textile and 22 of them were found which was the most found in a single fabrics in the Buddhist. The structure of jikgeum is various from gold thread, jikgeumneung, to jikgeum-janghwa and had the double pattern style of inscribing pattern on the base and decorating the pattern once more with gold thread. Gold thread used was mostly flat gold thread which is versatile in application so had different types of gold thread used on one fabric or even wove with both gold thread and silver thread combined. The base paper used for Jikgeum found to be a paper made in Goryeo and the jikgeum pattern is much more simplified and miniaturized comparing to the pattern in Chinese jikgeum.
One piece of dan was found among the types of textiles. The single clothing refers to a textile woven satin. This one has a significant historical meaning since it is the earliest single clothing found in Korea.
The pattern method of textile could be divided into the regularly patterned methods of Topjamun and Mixed Spread pattern. Especially, the regularly patterned methods of Geumtopja and Untopja were most prevalent and while Topjamun from the Yuan Dynasty had a pattern style with more than two different types of comparably large and complicated patterns, Topjamun from the Goryeo Dynasty consists of a single, simplified pattern. There is also a huge difference in the size of a unit design as Topjamun from the Yuan Dynasty has a size within 15cm in the width and length, Geumtopjamun from the Goryeo Dynasty has an average width and length size within 2cm. The pattern subjects of Geumtopjamun were antelope, dragon, pomegranate, butterf ly, small f lower, and lingzhi mushroom. The antelope or djeran pattern style in Topjamun was seen for the first time in Korea, and was influenced from Sogd and later polished into much more simplified and miniaturized Goryeo style of pattern.
The textiles from the Gilt-bronze seated Bhaisajyaguru Statue i

목차 (Table of Contents)

• Ⅰ. 머리말
• Ⅱ. 복장직물의 구성과 현황
• Ⅲ. 직물의 종류와 제직특성
• Ⅳ. 직물 문양의 유형과 특징
• Ⅴ. 맺음말
• 참고문헌
• 〈Abstract〉

참고문헌 (Reference)

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