이녕李寧의 작품활동

이내옥(李乃沃) 일조각 2006 韓國史市民講座 Vol.39 No.-

백제금동대향로의 비밀

이내옥(李乃沃) 일조각 2009 韓國史市民講座 Vol.44 No.-

恭齋 尹斗緖 自畵像 小考

이내옥 국립중앙박물관 1991 미술자료 Vol.- No.47

恭齋尹斗緖의 학문

이내옥 국립중앙박물관 1993 미술자료 Vol.- No.51

미륵사와 서동설화

李乃沃(Lee Ne-Ogg) 역사학회 2005 역사학보 Vol.0 No.188

King Mu (r, 600~641), the 30th king of Baekje, established Mireuksa Temple. The temple has a very important meaning for the origin of Korean stone pagodas. There is a close connection between the Mireuksa temple and the Maitreya cult. However, throughout the temple place of Mireuksa the stone pagoda was especially emphasized. This is also dated from the foundation of the Mireuksa temple when a Buddha triad came out of a pond. It can be also connected to the idea of making a pagoda for the Buddha from the Lotus Sutra. The fable of Seodong was composed with a number of Buddhist symbols. Seodong was very poor from a low social status, but he was born with the energy of a dragon. In this premise, there is a clue that Seodong was granted a great mission that he should make a great Buddhist temple named Mireuksa and transmit the precept of the Buddha. Seodong married Princess Seonhwa, a daughter of King Jinpyeong (r. 579~632) the 26th King of Silla. This fact reflects an ardent Buddhistic belief in the Seodong fable. Moreover, this fable can be created because Baekje was the center of the Maitreya cult in those days. At that time, the hostile relationship between Baekje and Silla was represented by replacing and sublimating a high dimensional Buddhistic symbol. Cutting his hair to meet Princess Seonhwa is a Buddhist symbol of seeking for a doctrine. Seodong was a hero who had a superior ability before he married Princess Seonhwa. However, he was nearly relegated to the role of a stupid man after he met Princess Seonhwa who symbolized Mireuk Seonhwa. Meeting Princess Seonhwa can be the symbol of a mystic experience where Seodong was converted as a bodhisattva. The success of Seodong was accomplished by the assistance of Princess Seonhwa and Master Jimyeong who symbolized Maitreya and the Lotus Sutra. So a human autonomy was reduced and a heteronomy was expanded by a handling of the religious messiah like Buddha. Baekje Buddhism kept a character that depends on the external power. This feature was then universally expressed to the religious symbol and art of Baekje. In the Seodong fable, the poverty and lowliness Seodong took the throne and finally founded a large scale Buddhist temple named Mireuksa and accumulated virtuous deeds. This has something in common with the ideal that anyone can become a Buddha. The Seodong fable has a connection with an universal character of Baekje Buddhism. Baekje Buddhism started from the idea that that all living things have Buddha nature. This presents a prospect that anyone can attain buddhahood. All these characterize Baekje Buddhism, which are represented in the Seodong fable.

백제금동대향로의 사상

이내옥 진단학회 2010 진단학보 Vol.- No.109

Of the figures cast in relief on the Gilt-bronze Incense Burner of Baekje, the most important are the five musicians depicted playing different instruments. Baekje valued music highly, and its people’s understanding of music was thoroughly Confucian, a viewpoint which is reflected in the design of this artifact. The musicians represent an expression of the people’s desire for a peaceful reign, while the other figures on the incense burner represent diverse aspects of daily life during Baekje’s cultural heyday. The figures were arranged in accordance with Confucian philosophy, the Buddhist influence being minimal. Unlike in Goguryeo and Silla, no traces of the frictions and conflicts between the three main religions - Confucianism, Buddhism, and Taoism - could be found in Baekje. Indeed, Baekje was an advanced society that pursued a universal, ethical, classical culture based on the Confucian ideology of heavenly order. The Gilt-bronze Incense Burner of Baekje was produced against this cultural and social background. Although the incense burner was modeled on the Chinese style of the time, it also incorporates the earlier style of boshan-shaped incense burners of the Han Dynasty, and other unique features such as the five musicians. The Confucianism of the Han Dynasty, based on the theory of the divine authority of the king, held that heaven would bestow auspicious omens on the king for his good deeds and inflict misfortune upon him for his wrongdoing. According to the Samguk-sagi (History of the Three Kingdoms), many hardships occurred at the end of Baekje period for which, according to Confucian ideology, the unsuccessful kings of the day were responsible. The five musicians and the Chinese phoenix depicted on the Gilt-bronze Incense Burner of Baekje symbolize the advent of an auspicious omen and the wishes of Baekje people for a peaceful reign. 백제금동대향로의 도상 중 가장 중요한 부분은 5樂士이다. 백제에서는 음악을 중요시했고, 당대인들의 음악에 대한 관념은 철저히 유교적이었다. 또한 악기의 구조에 대한 의미 부여와 해석도 그러했다. 당대의 이러한 음악관이 백제금동대향로에 반영되어 있다. 5악사의 음악 연주는 태평성대의 염원을 표현한 것이다. 백제금동대향로 도상은 끝없이 펼쳐지는 경관 속에 다양한 존재들의 삶이 하나의 장대한 파노라마를 이루는 大觀의 모습으로, 문화적 융성기의 시대적 산물이었다. 백제금동대향로 도상 중의 불교적 성격은 오히려 미미하다. 그에 비해 도상의 배치는 다분히 유교적 표현이다. 백제에서는 고구려․신라와는 달리 삼교 간의 사상적 마찰이나 대립의 흔적을 찾아 볼 수 없었다. 백제는 유교적인 天命 의식을 바탕으로 보편적이고 윤리적인 고전문화를 지향했던 선진적인 사회였다. 이러한 사상적 배경을 밑바탕으로 해서 백제금동대향로가 탄생한 것이다. 백제금동대향로는 당시 중국에서 유행하는 양식을 따르면서도, 古式인 漢代 博山香爐 양식을 절충하고, 거기에다 5악사 도상과 같이 백제금동대향로만의 독특함을 첨가한 것이다. 天人感應論에 근거한 漢代 유교는 군주의 올바른 행위에 대해서는 하늘이 祥瑞를 내리고, 올바르지 못한 군주의 행위에 대해서는 災異를 내려 경고한다는 것이다. 『삼국사기』 백제 말 기록에 많은 재이가 등장하고 있는데, 이것은 백제 사회의 유교적 관념을 드러낸 것이다. 백제동대향로의 5악사와 봉황은 상서 출현을 통해 태평성대를 꿈꾸었던 백제인들의 염원을 표현한 것이다.

미륵사와 서동설화

이내옥 역사학회 2005 역사학보 Vol.0 No.188

백제 칠지도의 상징

이내옥 국민대학교 한국학연구소 2010 한국학논총 Vol.34 No.-

The penmanship style of chiljido (seven-branched sword) inscriptions is haeseo (square or block style) and yet exudes the ambiance of yeseo (plain square style). A few characters in the inscription followed the ancient style, but they disappeared as the haeseo style was established. The penmanship style of the inscription is far from the free style shown in the Baekje Ungjin period, and from the styles of two Wangs (Wang Xizhi, Wang Huizhi). It is even farther from the style of the Sabi period. Thus, the manufacturing time of chiljido could not be determined as the Hanseong period by the penmanship. The yin and yang theory is the key theme of the Chinese ancient cosmology. The theory says that all things in the universe come into being and change according to the growth and perishing of the two types of energy, yin and yang. Number 7 symbolizes the strongest yang energy. The perfection of yang energy can be achieved with number 7. For instance, anecdotes of this symbol of number 7 were repeated in records related to chiljido in The Nihon shoki (The Chronicles of Japan). Gongna Iron Works is a long distance away that could not be reached even by seven-day travel, and swords and mirrors were all manufactured in such a way to have branches. The repetition of number 7 as in chilji (seven branches), chilja (seven sons), and chiril (seventh day) holds special meaning. 7 symbolizes powerful yang energy strength. Thus, chiljido symbolizes extreme yang energy strength. This symbol is more significant because chiljido was sent by Baekje to the Wa as a ceremonial present. In manufacturing swords, timing was long considered a very important factor in East Asia. Saingeom (four-tiger sword), which symbolize powerful yang energy, was manufactured to cast off evil spirits. Here, four tigers mean the year of tiger, the month of tiger, the day of tiger, and the hour of tiger. chiljido, seven-branched swords, were manufactured after forging iron one hundred times, and were the symbol and embodiment of the strong yang energy. Chiljido, containing the most powerful yang energy, could repel any formidable yin energy. The keyword of the chiljido inscription is “seongeum (literally, holy sound)”. Some people argue that seongeum is the truth of Buddhism or Taoism. However, at the time, religious truth could not be mentioned through chiljido, a symbol of a diplomatic document, between Baekje and the Wa. The Chinese character seong (聖) originates from the sun, and thus it embraces the function to shine the world, and the power of life to create and grow all things in the universe. The chiljido inscription structure can be categorized into the previous world, the present world, and the world after death; this expresses the strong pride of Baekje which is symbolized as the present world. Baekje sent chiljido, the symbol of the era of seongeum (holy sound), to the Wa, along with the message that this sword, when worn, could dispel any weapons. This is an example of ancient incantation by which to take advantage of the magic power of a certain object to dispel woes of war masterminded by evil spirits or devils. In Ancient China, the Great Dipper was engraved in swords, granting divinity to them, because it symbolized the spirit of yang and the sky. Some records, for instance, read: Gyeongjingeom Sword, which features the engraved Great Dipper, makes all things obey its wearer, and allows its wearer to be guarded internally and externally and to freely command men and evil spirits. The Great Dipper, composed of seven stars, symbolizes the spirit of yang and the liveliest yang energy. 7 is the number which is perfectly complete with the liveliest yang energy strength. Chiljido were manufactured in such a unique way to have seven branches, distinctively because it tried to embrace the symbolic meaning signified by number 7 and the Great Dipper. In this sense, chiljido can be said to be an abstract expression of the Great Dipper that symbolizes the ... 七支刀에 대한 연구가 백 년이 넘지만, 그 본질에 대한 연구는 만족스럽지 않은 형편이다. 따라서 그간 비교적 소홀했던 칠지도의 사상적 배경과 상징성을 당시 동아시아의 문화적 구조 속에서 탐구함으로써, 새로운 관점과 지견을 모색코자 하였다. 음양설에서 숫자 7은 양이 가장 왕성함을 상징한다. 이런 숫자 7이 『일본서기』의 칠지도 관련 기록에 반복되어 표현되었다. 철이 생산되는 谷那鐵山이 7일을 가도 이르지 못할 먼 거리에 있고, 칼과 거울을 각각 7개 가지가 있는 특이한 형태로 모두 제작한 것이다. 七支, 七子, 七日에서 7의 반복은 지극한 陽剛의 상징이다. 칼을 제작하는 양의 기운을 강하게 불어넣어 만드는 時觀念은 동아시아에서 오랜 전통을 가지고 있다. 일곱 가지가 달린 독특한 형태에 백 번 단련한 철로 만든 칠지도는 陽剛의 상징이자 그 구현이다. 칠지도는 최강의 양기가 내재되어 있어서 어떠한 陰氣의 삿된 기운도 무찌르기에 손색이 없기 때문에 破邪와 辟邪를 위한 최고의 기능을 발휘할 수 있다. 칠지도 명문의 중심어는 聖音이다. 칠지도 명문의 구조가 선세, 현세, 후세의 삼세의식을 바탕으로 현세 백제의 강한 문화적 자존의식을 표현하고 있다. 백제는 성음의 시대를 상징하는 칠지도를 보내면서, 이 칼을 차면 모든 병기를 물리칠 수 있다고 했다. 이것은 특정 기물의 呪力을 빌어 악귀나 사귀에 의해 자행될 수 있는 戰禍를 퇴치 또는 회피하려는 고대 辟兵呪術의 예이다. 고대 중국에서는 검에 陽의 精이자 乾을 상징하는 북두칠성을 새겨서 신령성을 부여하였다. 그런데 북두칠성은 7개의 별로서 陽의 精이자 양이 가장 왕성함을 상징한다. 陽剛이 완전하게 갖추어져서 가장 왕성함을 드러내는 숫자가 바로 7이다. 칠지도를 가지가 7개 달린 독특한 형태로 만든 데에는, 분명 칠지도와 북두칠성의 강한 상징이 내재되어 있다. 그런 점에서 칠지도는 陽의 精을 상징하는 북두칠성의 추상적 표현이라고 할 수 있다.

백제인의 미의식

李乃沃(Lee Ne-Ogg) 역사학회 2006 역사학보 Vol.0 No.192

This thesis offers an aesthetic approach in history and arts of Baekje. In the present study, previous arguments over the topic, fragmentary in Baekje or general in Korean arts, were organized and analyzed in a historical research methodology. Analyses were provided with artistic characters on particular artifacts from Baekje, Mildness, elegance and softness commonly characterized the artifacts and the three factors feature the main stream of Baekje arts. Characteristic Baekje arts substantially represent Baekje society. Considering from the kingdom's origin and its geography in East Asia, Baekje naturally attached importance to foreign relationship and the policy developed into cultural openness. It is believed that this historical environment tremendously affected the formation of aesthetic characteristics of Baekje arts. Baekje shared especially close cultural relationships with the Six Dynasties in China. The Six Dynasties can be defined as a period when a magnificent changeover occurred in the history of Chinese Arts and Baekje continuously imported their culture to form and shape its own cultural atmosphere. While China was in the middle of political turmoil by two consecutive empires Sui and Tang's erupting and perishing, and could not have a chance to reform their characteristic cultures, Baekje moved its capital to Sabi (now Buyeo) and developed the tradition of Six Dynasties' aristocratic cultural style to create its own peculiar cultural trend. Buddhism exerted enormous influence on Baekje society. Baekje people's artistic sense was also inevitably Buddhist. Several historical materials and artifacts show Baekje people's disposition and emotion. They sometimes realized about specific relations between people to cherish deep compassion and sometimes felt profound emptiness and nothingness of lives to aim at total transcendence through contemplation and reconciliation, Such emotions were sublimed into artistic technique and aesthetic creation. On(溫, Warmth) and a (雅, Elegance) could be chosen as two Chinese characters to best describe the features of Baekje arts, On represents neutrality and moderation which evades any extreme, and also means softness, fondness, generosity and richness, A means elegance and beauty, and it also has the senses of goodness and righteousness. The properties of this a imply an aesthetic feeling to refuse the opposite value and to be inclined for idealism, which illustrates an intervention of a social viewpoint of values, Baekje arts can be explained with characters on and a, and generally characterized as onami (溫雅美, Beauty of On and A), Onami can find its counterpart in uami (優雅美, Beauty of Gracefulness and Elegance) of western culture, Properties of uami are embodied by the peacefulness through generosity and richness in Baekje artifacts, and expendably described in cheerful or rhythmic beauty excluding any discord and hostility, Baekje Buddhism also influenced on the formation of aesthetic categorization. The supernatural divine sublimity of Buddhism was combined with elegant and graceful beauty to create a new stage of Baekje arts. The gilt pensive Bodhisattva image of National Treasure no, 83 is an exemplary artifact to incarnate the features, in which two different levels of existence were represented with one transcendental image of Buddha and with the other physically intimate figure of human being, The union of sunggomi (崇高美, Beauty of Sublimity) and uami in artifacts enlightens the contemporary ideological environment of Buddhism at that time, Baekje Buddhism was absolutely a religion of helping hands from Buddha, People directly worshiped for their welfare to Buddhist images in which sunggomi was extremely weakened and humanistic uami was reinforced to focus the images' warm eye contact instead, This is also one profile to exhibit a quality of Baekje arts.

백제인의 미의식

이내옥 역사학회 2006 역사학보 Vol.0 No.192

Artistic Consciousness of Baekje People