高麗 建國期 石造美術 硏究 = (A) study on the stone arts in the period of foundation of Goryeo

다국어 초록 (Multilingual Abstract)

The period of foundation of Goryeo is the time that is the hardest to be studied in the field of the Korea’s Buddhistic art history. The reason is that we can hardly find any consistent flow of patterns in it along with the lack of materials and chronological records. Since the stone art in the period of foundation of Goryeo is in the transitional period, it exhibits the patterns of both the classical period and the new era. Besides, we can hardly find their long-lasting continuity in it. Despite this, the stone art in the period of foundation of Goryeo is the subject of research to be dealt with very importantly because it ends the art of the classical period and suggests a direction of the new era for stone art.
First of all, this article attempted consideration on the stone art during Gungye’s reign of Taebong(泰封) that is regarded as the period that the stone art in the period of foundation of Goryeo started to appear. The research on the stone art of Taebong has not been genuinely started yet. This study examines Pungcheonwon(楓川原) Stone Lantern which has not been studied concretely yet. Pungcheonwon Stone Lantern was built in the capital of Taebong.
This paper examined why Pungcheonwon Stone Lantern was built as being so splendid a stone lantern with various techniques applied. And it considers if it is related with Gungye’s intention of building the capital of Taebong. Gungye is the only king that became God in our history and called himself as Maitreya. This study discusses that Pungcheonwon Stone Lantern was used as a religious and political statue that shows Gungye’s Buddhistic view to reality. Also, as the statues affecting the forms and patterns of Pungcheonwon Stone Lantern directly, this study analyzed Seonrimwonji(禪林院址) Stone Lantern and Gulsansaji(？山寺址) stone stupa for priest comparatively.
Despite the structural instability of both Pungcheonwon Stone Lantern and Gulsansaji Budo, they are with the intention of building as if they were floating in the sky. Other than this, from several aspects, we can see that the statues of the two regions were built by the master craftsmen of the same school. Also, this study has examined the possibility that the actual person in charge of building the Pungcheonwon Stone Lantern would have been Heowol(許越), the head monk of Naewon(內院).
About the stone art built in Gungye(弓裔)’s reign, what we can know presently are only the Pungcheonwon Stone Lantern contained in the old photos and another stone lantern and the stony turtle base destroyed. Considering this limited situation, this paper conducted research on art history and also interdisciplinary research on archeology, folklore, and history. As a result, this study has found that among the stone Buddhas referred to as ‘Gungye Maitreya’, there is great possibility that Anseong Gisolri Stone Buddha statue and Pocheon Gueupri Stone Buddha statue would have been built in Gungye’s reign.
The stone art in the period of foundation of Goryeo which started to appear in Gungye’s reign was succeeded by Taejo(太祖) Wanggun(王建) newly and became established. After the period of birth, Gungye’s reign and Taejo Wanggun’s foundation of Goryeo, and before the unification of the Later Three Kingdoms of Korea, the stone art in the period of foundation of Goryeo can be said to be in the influence of the stone art of the classical period, the unified Silla. This kind of fact can be found from the Pungcheonwon Stone Lantern imitating the Korean traditional drum shaped pillar stone lantern of the unified Silla and also the Gisolri Stone Buddha statue with clear traces as a gilt bronze statue of the Buddha of the unified Silla. Other than these, we can also see the retro patterns from the Bongeupsaji(奉業寺址) Buddha statue built before the unification of the Later Three Kingdoms of Korea after Wanggun’s foundation of Goryeo.
The stone art in the period of foundation of Goryeo started during Gungye’s reign and Wanggun’s reign before the unification of the Later Three Kingdoms of Korea. The genuine establishment of the stone art in the period of foundation of Goryeo can be said to be from Gaetaesa(開泰寺) Buddha statue formed after the unification of the Later Three Kingdoms of Korea to celebrate it. This study discusses that the spot where Gaetaesa Buddha statue is built is the very place that Singeom(神劍) of Hubaekje came to capitulate to Taejo Wanggun. As the ground for that, this paper analyzed ？Gaetaesahwaeumbeophoeso(開泰寺華嚴法會疏)？ that Taejo performed rites with, and it referred to the result of the recent research examining archeological indexes regarding fortress and castle relics.
As building both vigorous and powerful Gaetaesa Buddha statue in the historic place where the Later Three Kingdoms of Korea were unified, Taejo Wanggun showed the path that the new Goryeo dynasty unified should advance towards symbolically. The stone art in the period of foundation of Goryeo established by forming Gaetaesa Buddha statue shows further development along with the emergence of new patterns after Gwangjong(光宗)’s reign.
After the enthronement of Gwangjong, the bronze statue of Wanggun wearing 24-ryang(梁) Tongcheongwan which emperor wears was put Bongeunsa, the Jinjeon(眞殿) of Taejo. Other than this, the Jinjeon temple of Taejo was built in Gaetaesa, and the statue of Gongyangbosal(the stone sedentary Bodhisattva figure) built with stone in front of a pagoda was also formed. With the statue of Gongyangbosal built with stone in front of a pagoda, Gwangjong seems to have successfully built an image of a good and wise king who reflected on his own faults while supporting his parents. Although the figure in front of a pagoda showed the aspects as monk in the prior era, Gaetaesa the statue of Gongyangbosal built in front of a pagoda takes the aspects as Bodhisattva statue which can be understood that it reflects the idea of Wangjeukbosal(王卽菩薩) that is the idea which king is the Bodhisattva.
In Korea, about the idea of Wangjeukbul(王卽佛) - the idea that King is the Buddha - which Gungye first advocated, there was no king supporting Wangjeukbul directly after the failure of Gungye’s experiment to be Maitreya. However, when we examine the stone art still remaining, we can at least see that Taejo Wanggun and Gwangjong of the period of foundation of Goryeo pursued the thought of Wangjeukbul ultimately. In fact, Taejo Wanggun built Gaetaesa Buddha statue to celebrate unification at the spot where he got the capitulation from Singeom(神劍) of Later baekje. Gaetaesa Buddha statue does not show the general figure of the Buddha but is statue of the Buddha with very big hands and feet. We can say that this is the statue of the Buddha reflecting the features of Taejo Wanggun never permitting rebellion but pursuing stability.
Gwangjong expresses Wangjeukbul(the idea that King is the Buddha) through building the statue of the Buddha wearing crown-shaped Bogae(a kind of hat) and Daeui which emperor wears. The body of this article discusses that the statue of the Buddha wearing crown-shaped Bogae implies the thought of Wangjeukbul through the relationship between Gwanchoksa Buddha statue and the rectangular stone lantern started to be built in Gwangjong’s reign.
As we can see from the formation of the statue of sedentary Bodhisattva figure in front of a pagoda and Buddha statue wearing crown-shaped Bogae, there appeared unprecedented new patterns in Gwangjong’s reign. This emergence of new patterns shows that the stone art in the period of foundation of Goryeo became freed from the inference of the classic period but entered a completely new era of stone art. The influence of new patterns that emerged in Gwangjong’s reign affected the stone art created after that significantly. To verify that, this article traced how the shapes of Bogae in 81 stone Buddhas wearing Bogae chanced.
This article investigated the period of formation of Jungwonmireukrisaji(中原彌勒里寺址) known as the representative temple in the period of foundation of Goryeo in order to study the stone art in the period of foundation of Goryeo and understand it properly. According to the result of the research through archeological excavation and research and the methodology of analyzing the patterns of art history, Jungwonmireukrisaji that was known to be built at the early 10th century before is proved to have been founded from the end of the 11th century till the early 12th century. Based on that, this paper could newly arrange the chronological recording of stone art that has confused our accurate understanding of the stone art in the period of foundation of Goryeo.
The last chapter of this paper deals with the background of formation and characteristics of the stone art in the period of foundation of Goryeo. As the background of formation, this study examined Bongeupsaji Buddha statue, Gaetaesa Buddha statue, and Buddha statue wearing crown-shaped Bogae. Along with that, this paper mentions three representative characteristics among various elements that can represent the stone art in the period of foundation of Goryeo. First, the stone art reflecting the thought of Wangjeukbul(the idea that King is the Buddha) was built. Second, it mentions that various new patterns were created then. Lastly, as the third feature, it discusses the group of master craftsmen from Myeongju(溟州)-east part of Korea- worked actively in the central area.
It is expected that the detailed chronological recording, characteristics, and background of formation of the stone art in the period of foundation of Goryeo which this study has found will provide small but meaningful help for the further research in the stone art history of Korea.

목차 (Table of Contents)

• Ⅰ. 머리말 = 1
• 1. 硏究目的 = 1
• 2. 硏究史 檢討 = 4
• 3. 硏究方法 = 11
• Ⅱ. 石造美術의 胎動 = 15
• 1. 胎動期의 歷史的 背景 = 16
• 2. 泰封地域 統一新羅 石造美術의 傳統과 特性 = 24
• 3. 統一新羅 傳統의 繼承과 再解釋 = 41
• 1) 楓川原 石燈의 建立
• 2) 胎動期 石佛의 造成
• 4. 胎動期 石造美術의 特性 = 71
• Ⅲ. 石造美術의 確立 = 73
• 1. 確立期 石造美術 樣式 = 73
• 1) 胎動期 樣式의 反響
• 2) 建國期 樣式의 確立
• 2. 建國期 樣式의 確立과 匠人集團 = 85
• Ⅳ. 新樣式의 創案과 傳播 = 99
• 1. 石造 供養菩薩像의 造成 = 100
• 2. 冕旒冠形 寶蓋着用 石造菩薩立像의 造成 = 118
• 3. 新樣式의 模倣과 傳播 = 131
• Ⅴ. 石造美術의 編年 = 150
• 1. 胎動期 石造美術의 編年 = 150
• 2. 確立期 石造美術의 編年 = 180
• Ⅵ. 石造美術의 造成背景과 特性 = 192
• 1. 造成背景 = 193
• 2. 建國期 石造美術의 特性 = 225
• 1) 王卽佛 思想의 具顯
• 2) 多樣한 樣式의 創案
• 3) 溟州出身 匠人의 活躍
• Ⅶ. 맺음말 = 234