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        後百濟의 佛敎美術과 그 影響

        陳政煥 전북사학회 2015 전북사학 Vol.0 No.47

        The Later Baekje Dynasty (892-936) was caught in the period of transition from the Unified Silla Dynasty to the Goryeo Dynasty, and only lasted a short time. As such, a lack of relevant materials makes it very difficult to determine the characteristics of Buddhist arts of the period. This study examined - on the basis of earlier studies - the Buddhist artworks made in the capital and provinces of the dynasty, their regional characteristics and variations, and the classes of people who made them. It also discussed their impact on the subsequent early Goryeo Period (918-1392). Even though the Later Baekje Dynasty only lasted a short time, people from all social strata regardless of where they lived, including the royal family, nobility, and commoners, created Buddhist artworks for diverse purposes. These works of art generally look quite similar to those made during the preceding Unified Silla Period (676-935), and is probably due to the fact that people looked back at the Silla Dynasty culture wistfully, although they display slight differences depending on the prayers in each stratum. Thus, the Later Baekje Dynasty expressed its desire to inherit and preserve aspects of the Baekje Dynasty by incorporating elements associated with Baekje into Buddhist artworks and monumental pieces made for the royal family. The people of the Later Baekje Dynasty must have felt a need to follow in the footsteps of Baekje Dynasty and show their group identity in Buddhist artworks, which had a great impact on the early Goryeo Period, resulting in stone pagodas and Buddha statues reminiscent of those of the Baekje Period. These Buddhist artworks of the early Goryeo Period were largely concentrated in what used to be the royal capitals, major towns, and provincial temples of Baekje Dynasty where people could see distinguished Buddhist artworks.

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