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고려 佛具의 의미와 제작기법 : 宇鶴文化財團 소장품을 중심으로
안귀숙 용인대학교박물관 2006 丹豪文化硏究 Vol.- No.10
Used to make Buddhist sanctum solemn and hold various rituals and Buddhist offering in six ways, Buddhist Ritual Instruments are not only religious practical instruments, but the mediums spiritually functioning to save human beings by leading them into the solemn world of Buddha. Accordingly, the methods to use the instruments have been prescribed according to the Vinaya(Buddhist teachings) and Buddhist monks were strictly equipped with the necessaries such as robes, wooden rice bowls, sprinklers and incense burners, by order of the precept that when leaving for Dhuta(頭陀), they must always "carry, like bird wings,"eighteen articles of Mahayana monks with them. Most of the Buddhist Ritual Instruments at the Woohak Cultural Foundation were manufactured in the Goryeo Dynasty era, when various kinds of Buddhist crafted products were made and the products were excellent in molding, decoration and technique thanks to the development of Esoteric Buddhist rituals, thus enabling to grasp Korean Buddhist arts at a glance. Buddhist Instruments are divided into ritual instruments temple bell, buddhist ritual bell and bath plate for baby Buddha statue, offering instruments incense burner, incense jar, candle stick and sprinkler and solemn instruments gilt bronze plaque on the Nirvana illustration, sarira reliquary and gilt bronze miniature pagoda, guardian Buddha statues and gold tube for sutra, adjuncts belonging to a royal palace, Sutra box's ornaments, and so on. Temple bells are typical ones of the late Goryeo Dynasty era, which have standing flower pattern belts, as shown by the temple bell with inscription of Gye-mi 癸未 I223. Sprinkler are Goryeo's works of I2th-I3th centuries, which are divided into type Ⅰ with a spout and type Ⅱ without a spout. The Gwan-bul Songra 灌佛松羅, manufactured by buddha's servant, Kim-chun 金春 in I2I5, shows that the plate used for bathing the baby Buddha statue with perfume was called "Songra 松羅" at that time. The tripod candle sticks, whose saucers resemble lions, are Gwang-myang-dae 光明臺 that Seo Geung 徐兢 referred to as "It is a utensil which props a lamp and a candlelight. Underneath there are three feet. There is a pillar in the centre which is joined together by every joint like a bamboo shoot. There is (also) a tray on the top," in his book 「Goryeo Do Gyeong 高麗圖經」. Four of candle sticks, manufactured by "Hyean 惠安, Dongyangdoin 棟梁道人 of Jeong-gwang Temple 定光寺" in "March of the year of Sin-mi 辛未, seem to constitute a set, possibly used for Esoteric Buddhist rituals. The guardian Buddha statues are gold statues of Water-moon Avalokiteśvara sitting in the posture of ϓunwangjwa 輪王座 in the silver shrine protected by Vaiśravana 毘沙門天 from outward. Being so small as to be grasped within a hand, they not only express the aesthetic consciousness of Goryeo's people through icons, patterns and techniques of repoussé method(making wanted patterns appear by hammering metal plate from behind), but also the bamboos on the sides of shrine show how painting was in the Goryeo Dynasty era. Patterns show typical ones of the Goryeo era, as shown by main ones, e.g. lotus patterns, lotus arabesque patterns, twin phoenix patterns, dragon patterns, coin patterns, Sanskrit patterns, bamboo patterns and Buddhist saint statues, and subordinate ones, e.g. cloud patterns, dragon cintmani patterns, wave patterns and lotus petal patterns. Except for gold and silver ones, such Buddhist Ritual Instruments were mainly cast in bronze, or plated according to the art of mercury amalgam plating after chasing with various kinds of chisels. Above all, the ring-punched technique, more advanced than that in the Unified Silla era, shows an essence of 'fish-egg' patterns by making the fittings closely patterned with small circles on the surface with the bell chisel to make main patterns distinguished. This is attributed to the facts that Goryeo kept in official contact in the Ⅱth century with the Liao 遼 Kingdom which succeeded to and developed the ring-punched technique of those days and that Goryeo employed excellent artisans naturalized from Kitan 契丹 as official ones. Like this, the Woohak Cultural Foundation's collections, through which Goryeo's Buddhist followers and artisans expressed their belief and aesthetic consciousness, have great significance in Korean history of craft, since they show not merely all of various kinds, patterns and techniques of Buddhist metal arts, but also the circumstances of foreign exchanges of Goryeo with North Song 北宋 and Liao 遼.
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안귀숙 이화여자대학교 이화사학연구소 2010 梨花史學硏究 Vol.0 No.40
After it established a peaceful relationship with the Khitans, Goryeo became politically and socially a stable place, and between the 11th and 12th century during the rule of King Munjong and King Injong, it gave birth to an elegant and unique craft culture that was both naturalistic and ornamental. The metal craft of this period shows the highest level of aesthetic craftsmanship with the finest techniques in the history of Korean metal craft, possessing form, practicality, and ornamentality. At the root were the sculpting skills and aesthetic sensibilities of Goryeo people but the official exchanges between Goryeo and the Khitan Empire that were carried out in the 11th century and the inflow and acceptance of the northern culture through the naturalization policy of the Khitans were also important factors. For about 50 years starting from the rule of King Hyeonjong in the 11th century, Goryeo had official exchanges with Khitan and, in formal envoy dispatches, court costumes and silverware made by master government artisans with the highest level of craftsmanship were given and received. There were most likely exchanges of basic craft forms and techniques as well. Khitans, nomads that moved along areas with hunting, fishing, and aquatic plants, inherited the Tang Dynasty culture of the Hebei, Shanxi, and Liaoning areas, assimilated the Han Dynasty culture and, adding its own unique basic forms and techniques into the mix, established the 10th and 11th century north grassland culture. Goryeo craft could advance further because some of the Khitan artisans with considerable level of craftsmanship including metallurgy skills became naturalized and worked as government artisans in Goryeo. Metal craft in Goryeo shows elements of Liao Dynasty culture in the formal aspects of its Buddhist craft, such as Kundika (淨甁), and of its general artworks, such as twin dragon mirrors and encased ornamental knives. The most noticeable elements are the patterns: Buddhist patterns, such as double dragon, taegeukhwayeombojumun (太極火焰寶珠文) and poryusugeummun (蒲柳水禽文: water, willow and waterfowl), and general patterns, such as peoniesand bamboos. In technical aspects, the dense ring-matting technique using multiple chisels (多重釘) is the basic layer and, for main patterns, the high volume repoussé (打出技法) is the representational technique, and these achieved their peak during this period by adding the Khitan techniques to the foundation of the craft tradition from the Unified Silla Period. This paper analyzed from various angles the elements of Liao Dynasty culture that are reflected in the 11th and 12th century craftsmanship, in which we can see the quintessence of Korean metal craft, and investigated their influence on Goryeo craft and their significance in terms of history of craft relations.
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안귀숙(Ahn Kui-Sook) 한국조형디자인학회 2008 조형디자인연구 Vol.11 No.4
Furniture artist Choi Byung-hoon, the third generation artist of the Korean contemporary crafts, is an important figure leading the field of art furniture. In his works, he has portrayed the Korean aesthetic sense based on functionalism. In his series of art furniture works 《After Image From the Beginning of the World》, he has used a modeling way of an extremely moderate Sun Buddhism(禪宗) and he selects a topic from the natural beauty in the beginning on an intellectualism point of view. Native rock is employed in his works as part of construction and it shows his fondness for naturalism and minimalism. What is more, he tries to actualize "Telesis", an organic modernism to be advanced in a way of intellectualism, and speaks to the eternity of time with his own art volition carrying an organic curb to flow without stopping at the very moment (劫 Ksana). Namely he adds new functions to the form of Dolmen, found intensely over the Korean peninsula, and crafts tables and benches. This art furniture provides the impression of a monumental sculpture as he uses native rocks organically transformed by the eternity of time or to be objected by such shape. He has presented his unique way of modeling to contrast between different properties of matters. As he contrasts the lightness of the woods and the gravity of the stone, a simple natural beauty of the granite and a neat softness of the marble, and a dark-black lacquer and a bright marble, the whole modeling becomes one and establishes a tight corresponding relationship. Even though, at first, the modeling objects seem to exhibit a contrasting idea of "art" and "design", they form one magnificent art when the contrasting properties of two directly-opposed materials unite. Initially he has realized warm and comprehensive Korean aesthetics to the New Orientalism rather than the Cold Orientalism, the Japan-centered art that the western world has shown interest since the 1970's. In this paper, I have focused on the accomplishments of Choi Byung-hoon's own modeling representation, to be symbolized by naturalism, plainness, mildness, and silence with obtaining the universal value. As analyzing his works in modeling, function, and the period of changing materials, I have tried to define his being as an artist in the history of crafts.
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