麗末鮮初 佛像 奉安形 佛龕의 硏究 = A study on a niche for Buddhist images that enshrines separable Buddhist statues during from late Goryeo to early Joseon period

다국어 초록 (Multilingual Abstract)

The term niche for Buddhist images refers to a Buddhist tabernacle that enshrines Buddhist statues. There are two kinds of a niche for Buddhist images . a habitacle which can be seen in grotto temples and a separated form of a niche for Buddhist images. In usual usages, it refers to a small-sized portable separated form of niche for Buddhist images.
This study aimed to focus on small-sized niches for Buddhist images which were made during from late Goryeo to early Joseon period, particularly in the late 14th century to 15th century. The era was when a new Joseon’s culture was added and fused into Goryeo’s culture. Such cultural trend was similarly reflected at Buddhism in general.
The type of niches for Buddhist images of this era was mostly consisted of the Buddhist-hall-shaped and the majority of niches was made of gilt-bronze. All niches for Buddhist images during from late Goryeo to early Joseon period contained separable Buddhist statues in them. It shows a tendency in
making of niches for Buddhist images since such shape . making niches that imitate the Buddhist halls and enshrining separable Buddhist statues . is only found in the era of late Goryeo to early Joseon period. This study intended to find the art historical meaning by analysing and considering the material, shape, techniques, and the style of separatedly enshrined Buddhist statues of niches for Buddhist images.
The niches for Buddhist images of this era were mainly made with the participation not only of royal family and the noblesse but also of the general common people. Since the majority of niches for Buddhist images was made using gilt-bronze, it presented the characteristics that royal family and the noblesse more participated in making the niches than the common people did. The Buddhist images were all similar in terms of technique, form, and style. It is considered that the niches for Buddhist images reflected the belief which was closely related to the sudden change of social situation in which the regime was transferred from Goryeo to Joseon.
The shapes of the niches for Buddhist images were the Buddhist-hall-shaped ones and the box-shaped ones. The purpose of the niches were for worships, rituals, and private prayers. In terms of technique, on a square stylobate, the wall on all sides was made with gilt-bronze plate, and on it, a roof was placed. This technique can be referred to as a succession of tradition since it borrowed the existing method of making Reliquaries. The method of making the Buddhist-hall-shaped ones, enshrining separable Buddhist statues, and decorating door and ceiling resembles the one of building actual Buddhist halls.
The sculpture technique is very delicate and magnificent.
It shows an active reflection of Amitabha beliefs in terms of the form of niches for Buddhist images. Among the Amitabha beliefs, it reflected the belief in the Pure Land. Amid the chaos of the
regime change, it represents the aspect of rituals that wish for Paradise by burying Buddhist statues. It could also be understood in the same context that, in composition of Amitabha
Buddha Triad, Mahasthamaprapt Bodhisattva was replaced with Ksitigarbha Bodhisattva.
In case of relievoes, they resemble the Sutra paintings during from late Goryeo to early Joseon period in terms of composition.
Also, they share common style with Goryeo Buddhist paintings.
In case of separatedly enshrined statues, similarity with the Buddhist paintings of early Joseon period can be found in terms of composition and expressions in detail. In terms of style, the
progress of succeeding the tradition of Goryeo to Joseon is shown as the statues display the Neo-classical Style of Korean Buddhist Sculpture.
From the mid-15th century, statues that reflected the Tibetan style in Ming started to appear. It can be related to the growth of newly introduced masters of that time. A process of how a
foreign style affected the existing Buddhist statues can also be observed.

목차 (Table of Contents)

• I. 머리말 1
• II. 불감 관련 문헌기록과 그 전개 4
• 1. 불감 관련 기록 5
• 2. 우리나라 불감의 수용과 전개 8
• III. 여말선초의 불감의 형식 15
• 1. 재료에 따른 불감 형식 17
• 2. 형태에 의한 불감 형식 18
• 3. 불상 봉안 방법에 의한 불감 형식 26
• 4. 용도에 의한 형식 47
• IV. 여말선초 불감의 도상 51
• 1. 부조상 51
• 2. 봉안 불상 70
• V. 여말선초 불감 봉안 불상 양식 및 편년 91
• 1. 양식 특징 91
• 2. 편년 101
• VI. 여말선초 불상 봉안형 불감의 의의 107
• VII. 맺음말 109
• 【참고문헌】 112
• 【표 목 록】 119
• 【도판목록】 120
• 【ABSTRACT】 124