http://chineseinput.net/에서 pinyin(병음)방식으로 중국어를 변환할 수 있습니다.
변환된 중국어를 복사하여 사용하시면 됩니다.
- 中文 을 입력하시려면 zhongwen을 입력하시고 space를누르시면됩니다.
- 北京 을 입력하시려면 beijing을 입력하시고 space를 누르시면 됩니다.
RISS 인기검색어
- 검색키워드
- 저자 : 손영문 ( Son Young Moon ) (검색결과 8 건)
- 무료
- 기관 내 무료
- 유료
-
-
손영문 ( Son Young Moon ) 한국불교미술사학회(한국미술사연구소) 2021 강좌미술사 Vol.56 No.-
병령사 석굴은 하서주랑에 개착된 석굴로, 동서문화의 교착점에 위치한다. 이곳에는 일찍부터 불교가 교류하며 불교교학 뿐만 아니라 불교미술사상 의미 있는 작품들이 조성되었다. 병령사 석굴에서 가장 중요한 석굴은 제169굴로, 이 석굴은 개착 당시의 신앙을 알려주는 불상과 수행자의 흔적이 벽화로 남아 있어 석굴연구에 있어서 절대적인 자료를 제공한다. 병령사 석굴은 영이(靈異)롭게 생긴 암벽에 형성된 천연 동굴을 이용하여 수행자들이 드나들며 예배존상을 조성하고 관불수선하므로서 그 시작을 알렸다. 실크로드의 동쪽 끝에 있는 골굴 석굴은 초기의 신앙모습을 알려주는 자료는 남아 있지 않지만, 마애대불의 존재나 그 주변으로 형성된 크고 작은 천연의 석굴은 병령사 초기 석굴과 유사점이 많다. 법흥왕대 불교가 공인된 이래 수도 경주의 곳곳에는 가람이 건립되고 많은 수행자들와 이를 따르는 신도들이 생겨났다. 수행자들은 불교의 홍포를 위해 대중과 호흡하면서도 불교의 본연의 가르침인 깨달음을 향한 수행에도 소홀하지 않았다. 수행 장소로는 반듯하게 지어진 가람과 더불어 불교경전에서 설하고 있는 숲이나 나무아래, 수려한 바위굴 등도 선호되었다. 이렇듯 병령사 석굴이나 골굴 석굴은 천연의 수행 장소였다. 이곳은 대규모 인원이 들어 가 불상을 예불하거나 설법을 할 수 있는 공간은 아니지만, 일념으로 구도행각을 벌이는 수행자에게는 최적의 장소였다. 초기 병령사 석굴의 기록을 보아도 주로 수행을 위한 몇 몇의 이승(異僧)들이 드나들며, 불상을 만들고 일념으로 관하며 깨달음의 경지로 나아가고자 했다. 병령사 석굴이 그러했듯이 골굴 석굴도 이와 같은 신앙 형태를 띠었을 것이다. 즉 불상의 흔적이 또렷이 남아 있는 단석산 마애불상군이나 경주 남산의 삼화령 석굴, 불곡 석굴, 탑곡 마애조상군 등 삼국시대 석굴사원과 마찬가지로 골굴 석굴의 수행방식도 불상을 일념으로 관하고 칭념하며 궁극의 목적인 깨달음의 세계로 나아갔을 것이다. 한편 병령사 석굴의 상징인 미륵대불은 당대에 조성되고, 골굴 석굴의 상징인 마애대불도 통일신라 9세기대에 조성된다. 수많은 석굴을 대표하여 큰 규모의 상징을 조성하는 사례는 당대에 들어서서야 본격화 된다. 상징불로 선택된 도상은 대개가 의좌세를 취한 미륵불이 많으며, 그것은 정치권력의 정치적인 야망과 결부되는 경우가 많았다. 미륵은 석가여래 이어 下生하는 부처이지만, 그가 하생할 시점은 곧 불교의 이상적인 군주 전륜성왕이 치세하는 시절이어야 하므로 정치화하기 매우 좋은 신앙이었다. 골굴 석굴의 마애대불은 도상과 신앙적으로 석가여래로 판단되고 있고, 조성시기 9세기 후반으로 보고 있다. 신라 9세기 대는 왕족들 간의 왕권쟁탈로 인해 정치·사회적으로 대단히 불안한 시기였다. 사회적으로 불안한 시기에는 시대를 막론하고 미래불 미륵신앙이 급부상하고 각광을 받았다. 아마도 마애대불이 조성되던 시대를 통찰하면, 이 마애대불을 조성한 조성자는 새로운 세상을 꿈꾸며, 삼국통일의 대업을 이뤘던 문무대왕릉이 조망되는 곳에 새로운 세상과 시대를 갈망하며 미륵대불을 조성하였을 가능성도 배제할 수 없다. 물론 그 원류와 조성배경은 둔황이나 병령사, 천제산 등 당대 조성된 대불신앙에서 찾을 수 있지 않을까 한다. The Byeongnyeongsa(炳靈寺) cave, which is a stone cave that was excavated in the Hexi(河西) corridor, is located at the intersection of East and West cultures. As Buddhism was practiced in the place from early on, not only study of Buddhist doctrines were established, but also meaningful Buddhist art were created. The most important cave in the Byeongnyeongsa cave is the 169th cave, and this cave provides absolute data for the study of the stone cave, as the traces of Buddhist statues and Buddhist monks who convey the faith at the time of the founding remain as murals. Disciples of Byeongnyeongsa cave used strangely shaped natural rock surface to create alter with seating Buddhist. They began and announced their spiritual training by seating down in front of statue of Buddha and closing their eyes. The Golgul(骨窟) cave at the eastern end of the Silk Road does not contain any information indicating the form of faith, but the existence of the big engraved Buddha on the rock surface and the large and small natural caves formed around it are similar to those in the early days of Byeongnyeongsa cave. Since Buddhism was recognized during King Beopheung(法興王) of Silla era, Buddhist temples were built in various places in Gyeongju, the capital city of Silla, and many people became Buddhist monks or believers. The disciples of Buddhism breathe with the public to promote the Buddhism, but have not neglected the original teaching of Buddhism and their own training for enlightenment. As the Buddhist scriptures say, for the place for meditation, well-built Buddhist temples, forests, under trees, and beautiful rock caves were favored. As such, the Byeongnyeongsa and Golgul caves were natural places of practicing Buddhism. This is not a space where a large number of people can enter and worship or preach the Buddha's will, but it is best for disciples who practice Gudohaenggak(traveling the whole country to practice Buddhist doctrine, 求道行脚) with ilnyeom(one thought, 一念). Looking at the early records of the Byeongryeongsa cave, several foreign Buddhist monks came to cave making Buddha statues, thinking deeply with conviction, in order to advance to the level of enlightenment. Like the Byeongnyeongsa cave, the Golgul cave would have taken the same form of faith. In other words, just like the caves in the Three Kingdoms period, such as Danseoksan(斷石山) Buddha engravings, Samhwaryeong(三花嶺) cave, Bulgok(佛谷) cave, and Tapgok(塔谷) Buddha Group in Namsan, Gyeongju, the disciples thought deeply about the statue of Buddha and trained themselves to move on to the ultimate goal of enlightenment. On the other hand, big Maitreya Buddha, the symbol of the Byeongnyeongsa cave, was built in the Tang Dynasty of China, and the image of Buddha engraved on rock, the symbol of the Golgul cave, was engraved in the 9th century of the Unified Silla. The case of creating a large-scale symbol representing numerous caves did not happen until the Tang dynasty of China. Most of the statues chosen as symbolic Buddha have many Maitreya Buddha in the form of sitting on a chair, and it is often associated with the political ambitions and power. Maitreya Buddha is a Buddha who descends after Sakyamuni Buddha who descends into the world to rebirth, but when the time when he will descend must be the period of the reign of Chakravarti, the ideal monarch of Buddhism, which was a very good faith to politicize. The big Buddha engravings in the Golgul cave is religiously considered to be the Buddha of Sakyamuni, and is considered to be in the late 9th century when it was engraved. The 9th century of Silla was a period of great political and social unrest due to the struggle for kingship among royal families. In times of social unrest, the faith of the future Buddha, Maitreya, emerged in the limelight regardless of the times. Perhaps looking deeper into the time when the big Buddha was engraved, the creator of the Buddha dreamt of a new world, longing for a peaceful new era in the place such as the time of great achievement of the unification of Three Kingdoms, unified by King Munmu(文武王) of Silla. As the engraved Buddha was created overlooking of the tomb of King Munmu of Silla, the possibility of engraving of big Maitreya Buddha was cannot be excluded. Of course, the origin and background of its creation can be found sorely in the beliefs of the big Buddha engravings that were often established during the Tang Dynasty, such as Dunhuang, Byeongnyeongsa cave, and Mt. Cheonje.
-
-
-
朝鮮 後期 木造阿彌陀如來三尊 佛龕과 阿彌陀如來七尊 佛龕 考察
손영문(Son Young Moon) 동국대학교 박물관 2019 佛敎美術 Vol.30 No.-
From November 12th to 14th, Dongguk University museum held special exhibition called Jeun Dan Ji Hyang (栴檀之香) commemorating university s 112 years history. In the special exhibition, two late Joseon period portable buddhist shrine sculptures with different shapes were submitted and displayed. One portable buddhist shrine is widely known as Amitabha Triad sculpted by Hyeon won which was held by professor Mun Myeong Dae, who was a director of Dongguk University museum long time ago. Another portable buddhist shrine was held by Chentae ( Tiantai ) sect central museum. One that Dongguk University museum has a cylindrical shape from shoulder to abdomen, thus it is also referred as shell case shape type or bomb shape type portable buddhist shrine. One that owned by Chentae ( Tiantai ) sect central museum has octagonal roof shrine style. it is a religious view that it is not suitable to call portable buddhist shrine a bomb shape type, and portable buddhist shrine shape is more to a lotus peak. Thus it is more suitable, in religious view point, to call it bell shaped or lotus peak shaped . Style of Bell shaped portable buddhist shrine was developed based on <Suncheon Songgwangsa buddhist temple s Wooden Buddha Triad Portable Shrine>. This portable buddhist shrine has a great significance as an example of the earliest portable buddhist shrine in the late Joseon Dynasty. It was originally know as sculpted by Hyeon won. However. from shape and form are more related to Cheong Hun Yu Pa, its expressionless and solemn facial expression, simple shaped drawing which bring modesty, hand signature of Amitabha Buddhist and the shape of Buddhist robe suggested that it is deeply related to <Gurye Hwaseomsa Temple s Seated Wooden Bairocana Buddhas of Three Bodies> made in 1634 and <Hadong Ssanggyesa Temple s Seated Wooden Shakyamuni Buddha at the center is f lanked by the Bhaisajyaguru Buddha and four bodhisattvas> made in 1639, From 2002 to 2013, Cultural Heritage Administration conducted nationwide cultural property, which are held in buddhist temple, research in order to form datebase on sculptures from the late Joseon period. As a result of comparative study among many buddhist sculptures s work, this portable buddhist shrine is highly likely made by Hyeon Yun, who might be identical person with name of Hyeon won or miss read Hyeon Yun (賢允) from Hyeon won (賢元) since their Chinese characters are very similar. Hyeon Yun sculpted under Cheong heon (淸憲) who was one of the most representative buddhist sculpture of 17th century. Cheong heon s work is rarely exist, thus if this portable buddhist shrine is a work of Hyeon Yun, it has significant meaning in sculpting history. It is regrettable that it is not possible to know exactly which Yu pa the portable buddhist shrine sculpture made by because the original votive document of the was not discovered at Chentae ( Tiantai ) sect central museum. However, this portable buddhist shrine shows simplified octagonal shaped buddhist shrine form in the late 17th century, and angle rafter had cloud shaped Yeoui dumun decoration. Door latch s from is also creative. In the spacious inner area, there are seven figures which hakyamuni Buddha at the center is f lanked by the Bhaisajyaguru Buddha and four bodhisattvas. Among portable buddhist shrines, this showed and had form of the most dramatic scene of paradise in late Joseon period. The Buddhist statues have monotonous and child-like body proportions, and have a soft and slender face. On the right shoulder, there is an impressive wrinkle that crosses twice with the short waistline, the beneath the clavicle and the abdomen center shape W . This sculpture can be compared with sculptures from Sec Nan Yu Pa or Dan Eung Yu Pa. The shape of the portable buddhist shrine, the detailed expression system, and the formative features of the simple octagonal shape are similar to the portable buddhist shrine which was sculpted by Sec Nan
-
-
-
KCI연관 검색어 추천
이 검색어로 많이 본 자료
활용도 높은 자료
