人文科學으로서의 美術史學 - 方法論의 原論的 試圖

강우방(姜友邦) 한국미술연구소 2001 美術史論壇 Vol.- No.12

새해의 탄생

강우방(姜友邦) 샘터사 1993 월간 샘터 Vol.24 No.12

성덕대왕신종(聖德大王神鐘): 중생을 일깨우는 진리의 종소리

강우방(姜友邦) The Korea Foundation 2004 Koreana (Korean) Vol.18 No.2

불국사와 석불사

강우방(姜友邦) 일조각 1998 韓國史市民講座 Vol.23 No.-

韓國毘慮遮那佛像의 成立과 展開 : 圓融의 圖像的 實現

강우방 국립중앙박물관 1989 미술자료 Vol.- No.44

It is well known that there are two central Vairocanas in Esoteric Buddhism : one is the bodhisattva-form in dhy□na mudr□ of Garbhadh□tu 胎藏界定印毘盧遮那, the other is the bodhisattva-form in bodhi-□ri mudr□ of Vajradh□tu 金剛界智拳印毘盧遮那. The two togerher form Dharmadh□iu 法界. The oldest extant example of the representation of Dharmadh□tus is the mandala painting owned by the Jingoji Temple in Kyoto 京都神 護寺 dated ca. 831. A. D. and the oldest extant example of the three dimensional representation is a group of five Buddhas owned by the Anshoji Temple(now on display in Kyoto National Museum) 京都安祥寺 dated around the second half of the 9th century. The central Buddha of five Buddhas of Vajradh□tu 金剛界五佛 is the bodhisattvaform Vairocana in bodhi-□ri mudr□. However, recently in Korea, the bodhisattva-form Vairocana in bodhi-□ri mudrr□ painted on the frontpiece of Avatamka s□tra 新羅 華嚴經變相圖 dated 754 A. D. and a sculpture of Buddha-form Vairocana in bodhi-□ri mudr□ from the S□knamsa Temple site 石南寺址(now in Naew□nsa Temple 內院寺 near Chinju city 普州市) dated 766 A D. were discovered. As these two are now the oldest extant examples in the Far East, it is possible to attempt a new interpretation of the objects found in Korea in the context of East Asian art history. The enlightened posture of Buddha image in the bh□mispar□a mudr□ 降魔觸地印成道 像像 may signify the concept of Vairocana, which means the universal thruth itself. When □□kyamuni attained enlightenment, he got the absolute truth, or he became a wise man. Then, he became an absolute existence and, aと the same time, he found that this world itself became paradise, or purified land, or Dharmadh□tu. Furthermore, he became the truth itself. Thus, the enlightenment of □kyamuni is a crucial moment not only in the history of Buddhist とhough と buと· also in とhe history of Buddhist art. The concept of Vairocana is the core of Hwa□m philosophy 華嚴思想. It means "the sun shining everywhere", that is, the omnipresence of truth. Although he is the hero of Avatamsaka s□tra, he is always silent. The Bodhisattva Samantabhadra 普賢菩薩 preaches on his beha◎. However, there arose a need to turn the important concept of Vairocana into an object of worship, and finally the new iconography was developed in Korea : that is, とhe Buddha image in the bodhi-□ri mudr□. This kind of embodiment of originally formless Vairocana was achieved In China. Korea, and Japan respectively. Chinese examples are unknown before Sung. Koreans must have followed first Chinese iconography of the bodhlsattva-form Vairocana. But Koreans transformed it and created new unique iconograph y : the Buddha-form Vairocana in the boshi-□ri mudr□ 如來形智拳印 毘盧遮那三尊佛. This iconography had been popular in the development of Hwafm philosophy and Zen Buddhism whlch have been the main stream of Korean Buddhism throughout Korean history. Hwafm philosophy is the core of Zen Buddhism. Since the 8t h century many Korean monks went to T'ang China and eagerly learned Hwa□m philosophy and Zen Buddhism, while Japanese monks tried to inherit Chinese orthodox Esoteric Buddhism T'ien -t'ai 天台 since the 9th century. As a result, the iconography of Buddha-form セairocana as the main Buddha of Hwa□m-Zen Buddhism was popular in Korea and the bodhisattva-form Vairocanas as the central Buddhas of Esoteric Buddhism were Popular in Japan, Thus, the Korean iconography of Vairocana was different from that in Japan due to the different religious background. Particularly, since the 8th century the two kinds of iconography of the Enlightened □ the old one in the bh□mispar□a mud□ and the new one in the bodhi-□ri mud□-have been most popular throughout Korean histor y. It means that the popularity of the iconographies show the Korean eternal will to return to enlightenment. Finally Koreans created unique iconographic schemes . the Iconography of Enlightened one-□□kyamuni -in bh□mispar□a mudr□ could embrace all the Buddhas such as Amitabha and Bhai□ajyaguru, and another Enlightened one, the Vairocana in the bodhi-□ri mudr□ also, could embrace all the Buddhas and even bodhlsattvas, such as Eleven -headed Avalokite□vara and Ksitigarbha bodhisattvas. In the Unified Silla period, the type of statue without forming a group or without flanking figures was popular and, later, Vairocana triad flanked by Samantabhadra and Ma□ju□r□ was established. In the Kory□ period, the Trik□ya Buddhas 三身佛, that is, the combination of Dharmak□ya(Vairocana) 法身, SambhogakEya 報身, and Nirm□nak□ya (□□kyamuni) 應身, which might be the embodiment of metaphysical trik□ya concept of 記on Buddhism, began to be popular, and many examples of Trik□ya Buddhas from the Chos□n period remain, During the Kory□ period, without exception on the frontplece of Avatamsaka s□tra was painted the iconography of Vairocana in the bosh□ri mud□ without exception. A unique development of iconography echoes the unique development of Buddhist doctrine.

新羅十二支象의 分析과 解釋 : 新羅十二支象의 Metamorphose Metramorphose of the Silla-twelve animals

姜友邦 동국대학교 박물관 1973 佛敎美術 Vol.1 No.-

仙桃山阿彌陀三尊大佛論

강우방 국립중앙박물관 1977 미술자료 Vol.- No.21

百濟半跏思惟像의 新例

강우방 국립중앙박물관 1990 미술자료 Vol.- No.45

This contemplative Bodhisattva was purchased by a private Korean collector from a Japanese in Tokyo around 1948, but it has never been introduced. The statue is not only one of the most beautiful sculptures of Korea, but also offers clues to solve some of the problems of history of ancient Korean sculpture. It exemplifies the last stages of the stylistic changes of the contemplative Bodhisattvas of Paekche. The sculptor of this work attempted a confident plastic recomposition and deformation, which are thought to have links with schematized and abstract style of Buddhist statues of Silla. Having highly stylized slender bosom, waist and arms and schematized skirt, this statue has characteristics of Sui Chinese Buddhist statues. The Contemplative Bodhisattva with square pedestal(Treasure No.331) may be regarded as a good example of an embodiment of these characteristics with Paekche variation. While faithfully following the type of the Contemplative Bodhisattva(National Treasure No.78) dating from the late 6th century to the style of the statue under discussion, which is dated to the mid-7th century. In other words, this statue, retaining basic eleaments of the Contemplative Bodhisattva (National Treasure No.78), derived from schematization and abstraction of the side views of the contemplative Bodhisattva reportedly excavated in Kongju dated to the late 6th centuty and of the contemplative Bodhisattva(National Treasure No.83)The type and style of contemplative Bodhisattva under discussion began to influence the contemplative Bodhisattva of Silla from the mid -7th century and on. On the Bodhisattva statues of Silla made under the infuence of this statue aesthetics of schematic and abstract recomposition is most evident in the lower half, particularly on the side view.

統一新羅鐵佛과 高麗鐵佛의 編年試論 : 忠南 瑞山郡 雲山面의 鐵佛坐像과 雲山面 普願寺址 丈六鐵佛坐像을 中心으로

강우방 국립중앙박물관 1988 미술자료 Vol.- No.41

The present Iron Buddha is one of the most noteworthy images in the history of Korean Buddhist sculpture. However, not only is its provenance unknown, but its date of making has been inappropriately attributed to the Kory□ dynasty, so that it has not received proper recognition. It is recorded that this Buddha, in bh□misp□rsa m□dra, was removed from Unsanmy □n, S□san-gun, South Ch'ung-ch'□ng Province. It is therefore very possible that this image was enshrined in Pow□n-sa, the nlost famous temple in the area, which since Paekche and throughout the Unified Silla and Kory□ until Chos□n, had a long tradition of keeping the Buddhist faith. The records, however, do not mention Pow□n-sa. The Buddha sits with right shoulder covered and left shoulder bare, with the right hand in bh□misp□rsa m□dra. The image reflects the mature style of the Unified Silla period : the body is voluminous and substantial, and the drapery f□lds are in "ponp' asik" or wave pattern in which large and small ridges alternate. The broad shoulders, erect body and stable posture of the legs, the face influenced by the T'tong, and the modelling of the body, are all perfectly proportioned. The wave pattern of the drapery was popular during the Unified Silla Period, and this iron Buddha shows the style most clearly. It is generally known that the casting of iron Buddha images began to flourish in Korea inthe ninth century, but close inspection of the style and technique of this image argues that the technique was already practised in. the mid-eighth century. In this article the writer has clarified the detailed process of casting iron image, and concluded that on the foundations of the techniques for casting bronze images and of modelling terra-cotta images, the casting of iron images was easily accomplished. In other words, the casting and modelling of the present Buddha image in the mid -eighth century was □ possible through mastery of bronze-casting and terra-cotta sculpture. Without excellence of technique, creation of sculptural form could not be accomplished. In China, Buddhist images in cast iron were mad e on account of a shortage of bronze, and it is said that their manufacture flourished during the T'avg period ; however, no actual examples remain from that time, and the majority date from the Song dynasty. In Japan, the manufacture of iron images began in the thirteenth century during the Kamakura period. Compared to this, in Korea there are five iron Buddha images from the Unified Silla Period, among which this Buddha is certainly the earliest and the most remarkable. The expression of prana(breath) filling and expanding the vessel of the body, the stable proportions, the buoyant drapery, and perfect technique, all are the product of the most mature period of Unified Silla, and may be compared with the S□kkuram Buddha image.

옥룡론과 금관론

강우방 한국고고미술연구소 2011 고고학지 Vol.17 No.-

The jade dragon did not actually exist in China. Rather, it was related to the Liaohe River Civilization. Thus, it is an important work piece that eloquently tells us where the origin of Korean culture was located. A jade dragon is also referred to as a "curved (i.e., crescent shaped) bead" or a "comma-shaped bead," names that are simply derived from the shape and which have no other significance or symbolic meaning. There have been efforts to attach names associated with a fetus, i.e., a new life, but there has been no attempt to rationally interpret the meaning of a jade dragon. Indeed, such corporeal names fundamentally block efforts to determine their symbolical significance. Thus, I have tried to verify that the crescent-shaped bead was a jade dragon in detail. If you focus only on crescent-shaped jade-related materials, you can never understand what it really is. Academic learning must adopt the core principle of the Huayan philosophy, that's to say, "One is like the whole and the whole is like one." Archaeology has focused on the explanation of past facts. The recognition of truth is a time consuming process that also requires considerable effort on the part of archaeologists. A jade dragon is an important feature of apparel design. A jade dragon is an essential component of a gold crown, earring or necklace. That means that it contains an important element of symbolism. This is an important matter for archaeologists both in Korea and Japan. 고대 장신구에는 심원한 우주 생성론 사상이 반영되어 있다. 그것을 반영했기 때문에 상상력과 창의력을 바탕으로 한 '조형의 탄생'이라는 위대한 창조가 이루어진 것이다. 고고학이 이제는 형이하학적 접근이 아니라 형이상학적으로 다루어져야하는 이유이다.