高麗時代 石碑의 碑身彫刻 硏究 = Features of Goryeo Temple Stele Slab Sculpture

다국어 초록 (Multilingual Abstract)

Further development of Chinese Buddhist memorial steles stagnated after the end of the Tang Dynasty (618-907 C.E.). This afforded the late Unified Shilla Kingdom (666-938), which had imported the Chinese styles, and the ensuing Goryeo Kingdom (917-1392) plenty of opportunity to apply their own creativity to stele development.
One early example is late Shilla？s modification of the tortoise head into a dragon head. This process of development continued unabated during Goryeo which developed its own highly distinctive stele styles and motifs.
Until now, research has generally been centered on the sculptural features of tortoise-shaped stele bases and dragon capstones. Confirming distinctive period styles has been difficult since many important materials have been lost, destroyed, damaged or replaced over the centuries, leaving little that reflects the complete original steles. In comparison, identifying changes in period stele sculptural features and styles is comparatively easy and this gives greater credence to accurate period identification.
For research purposes, the author has divided stele slab design motifs into the following: juyeonmun -- border designs; jeaekmun -- title design motifs; jeaek juyeonmun -- title border designs; and chukmyeonbujo ？ side reliefs. In addition, the author has divided the stele slab shapes, according to progressive periods, into four: banghyeongbi -- vertical rectangle slab with rectangular border line ; mogwakoemunhyeongbi -- vertical rectangle slab with frustum design border, title inside frustum, motif outside; mogwaknaemunhyeongbi -- vertical slab, title and motif within frustum design border; and gyuhyeongbi -- frustum slab.
The bordered stele design popular around the mid-10th century C.E. gave way to a new style in the 11th century, with the stele title coming down from the capstone to the top of the stele slab. In addition the general form of the memorial stone developed seemingly as an imitation of the earlier rounded and triangular top styles into the frustum design style. As the stele for National Dharma Master Jigwang at Beopcheonsa Temple exemplifies, in the latter half of the 11th century the simple lines of the frustum designs evolved into surprisingly large forms and dimensions, and provided for the further evolution and distinction of motifs inside and outside the frustum design (mogwakoemunhyeongbi and mogwaknaemunhyeongbi).
Goryeo Kingdom mogwaknaemunhyeongbi stele sculpture reached its peak and simultaneously elaborate designs flourished right through to the mid-12th century. Then from the late 12th century, the stele shapes themselves were simplified with the introduction of the rather shocking frustum stele and the relative demise of stele sculpture.
Through this research, the author was able to make an important artistic re-evaluation of stele sculpture. In particular, the author was able to confirm that the highly distinctive stele sculptures of the Goryeo Kingdom were a core reflection of Goryeo culture of the times. Eventually, the processes involved in the popular types of stele sculpture and design that had developed and flourished had again to be simplified as a result of the overall environment that included repeated foreign invasions and social instability. In order to overcome these misfortunes, the times demanded comparatively less costly and less labor intensive stele sculpture and design, resulting in the simple frustum stele design.
Therefore it is highly feasible to state that the meaning of stele sculpture goes beyond simply surface ornamentation, and that the actual processes of change and development in stele sculpture and overall stele form set a firm foundation for this. In particular, the forms of capstones and bases are particularly relevant to this, and from the point of overall completeness, we can find examples of total excellence in Goryeo stele sculpture.
Consequently, more detailed analysis of these relationships is required in restoring complete forms of currently incomplete stele styles and can be highly valuable in determining accurate dates of production.

목차 (Table of Contents)

• Ⅰ. 머리말 = 3
• Ⅱ. 碑의 개요 = 6
• 1. 중국 石碑의 흐름 = 7
• 2. 국내 石碑의 흐름 = 10
• Ⅲ. 高麗石碑 碑身彫刻의 형식과 특징 = 13
• 1. 방형 = 18
• 2. 모곽외문형 = 22
• 3. 모곽내문형 = 37
• 4. 규형 = 60
• Ⅳ. 高麗石碑 碑身彫刻의 양식변천 = 69
• 1. 제1기 방형 양식(10세기 후반) = 70
• 2. 제2기 모곽외문형 양식(11세기 전반) = 73
• 3. 제3기 모곽내문형 양식(11세기 후반~ 12세기 전반) = 87
• 4. 제4기 규형 양식(12세기 후반 이후) = 91
• Ⅴ. 高麗石碑 碑身彫刻 硏究의 의의 = 101
• Ⅵ. 맺음말 = 106
• 참고문헌 = 108
• 표 및 도판 목차 = 113
• Abstract = 115
• 부록 = 118