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李浩官 龍仁大學校 傳統文化硏究所 1998 丹豪文化硏究 Vol.- No.3
This relic was purchased by the Woohak(宇鶴) Foundation several years ago. It was treated for preservation and temporarily exhibited in the National Museum of Korea in 1988 before possessed by the Foundation. Yo˘lbanbyo˘nsangp'an(涅槃變相板, the Nirvana, illustration from Buddhist sutras, engraved on gilt-bronze plate)is roughly in the shape of incomplete pentagon in which its both sides and the base are square but the middle of the upside protrude. In the facet of the protruded side, it is described that Buddha is dying before the Buddhist Apostles in grief. The relic is 22.6cm wide in the base, 14.4cm high in the highest length and 0.45 m/m~0.65m/m thick. The purpose of this paper is to make a decision of the time it was made through a study of its technique. In the whole structure, bo trees(菩堤樹), Buddhist disciples, flying fairies, dying Buddha, pedestal and animals were characteristically inscribed in line by a graver with the tip of triangle. From the Three Kingdom Period(三國時代) passing the Unified Shilla(統一新羅) until the Koryo˘ Dynasty(高麗), it was usual that metal wares, sarira ritual wares, mirror plate and accessories had been decorated in the techniques of continually carving by a straight graver, a bell graver or a dot graver, or inscribing patterns, figures and characters in line by a delicate chisel. However, a remarkably different inscribing method can be seen in this relic. no example can be found in the other metal sarira wares out of some stupa produced from the late 7th century to the 8th century that had designs expressed by a special triangle graver like in this relic. There is no example with the technique using such a triangle graver even in those of Koryo˘ period which is estimated as followers of the Unified Shilla. This relic is the first Yo˘lbanbyo˘nsangp'an found in domestic cultural reality with a unique technique of continuous carving by a triangle graver. Domestically, only three examples of Yo˘raeyo˘lbansang(如來涅槃像, the Image of Nirvana) in relief in the 10 Storied Pagoda of Wo˘ngaksa site(圓覺寺址十層石搭)the last altar portrait of Buddha among the picture of eight images attached to the four walls inside the P'alsangjo˘n(捌相殿) of Po˘pchusa(法住寺) Temple and this relic. Therefore, I think that it is rude to mention of the authenticity of this relic. It is also difficult for me to know what kind of relations between this relic and the Yo˘lbandangwhasang(涅槃銅畵像, one bronze work of Nirvana) described in the documents of Kilsangt'ap(吉祥塔誌) in Haeinsa(海印寺). Only I can say that it is the first and only example of Yo˘lbansang with linear graving in a gilt-bronze plate and it is necessary to stud further and deeper the technique and the Pyo˘nsangp'an itself.
李浩官 동국대학교 신라문화연구소 2003 신라문화제학술발표논문집 Vol.24 No.-
본고는 신라의 금속 공예품 가운데 여러 장신구류의 양식과 특성을 살피고, 신라 범종의 성격에 대하여 논의해 보았다. This paper is to examine Shilla's metal works of art, especially the style and trait of personal ornaments, and temple bells.