불사리장엄구의 문화적 양가성

주경미 진단학회 2017 진단학보 Vol.- No.129

석가모니 붓다가 입멸 후에 남긴 시신에 대한 장송의례와 공양에서 기원한 불사리신앙은 사리를 위한 여러 가지 조형물들이 만들어지는 데에 중요한 역할을 했다. 불사리장엄구는 바로 붓다의 사리를 숭앙하기 위해서 만들어지는 각종 그릇과 탑과 같은 건축물 등의 다양한 조형물들을 뜻하는데, 이들은 제작 시기와 장소 및 후원자의 성격에 따라 매우 다양한 양식으로 발전하였다. 불사리신앙과 장엄의 발전에 가장 중요한 역할을 한 사람은 기원전 3세기 인도의 아쇼카왕이다. 그가 붓다의 근본팔탑을 발굴하여 붓다의 사리를 발굴하여 공양하고, 왕권을 고양하기 위한 정치적 성격의 팔만사천탑을 세운 이후, 불교계에서의 불사리신앙과 장엄은 불교적 종교성과 왕권 강화를 위한 세속성이라는 문화적 양가성을 가지며 발전해왔다. 역사상의 수많은 불교적 제왕들은 그의 행위를 모방하여, 옛 탑을 발굴하고 사리를 꺼내어 공양하고 다시 사리장엄구를 갖추어 탑 안에 사리를 봉안하는 행위를 반복해왔다. 그러나 그들의 탑 발굴은 근현대 이후 이루어진 고고학적 발굴조사와는 달리 종교적 성격이 강조된다는 점에서 차이가 있다. 이 글에서는 불사리장엄구의 기원과 역사적 변천과정을 고찰하면서, 불교미술로서의 불사리장엄구가 가지고 있는 불교적인 “종교성”과 물질문화적인 “세속성”이라는 서로 모순되면서도 떼어낼 수 없는 문화적 양가성에 대해서 논의했다. 불사리장엄구는 분명히 불교계 내에서 종교적 숭앙의 대상으로 여겨져온 성스러운 “사리”를 위해서 만들어진 종교적 조형물이지만, 동시에 그것의 제작에 직접적으로 관여했던 다양한 사람들의 욕망과 이익을 투영하는 세속성을 가진 물질문화의 산물이다. 불교적 종교 의례의 영향을 강하게 받으면서도, 사리가 장엄되었던 시대와 지역 문화의 세속적 물질문화사 및 인간의 욕구를 직접적으로 반영하여 제작된 불사리장엄구는 불교 문화사 속에서 매우 독특한 문화적 양가성을 가진 조형 예술품으로 발전해왔다. Buddhist relic cult has developed in the Buddhist world since the parinirvana of the Historical Buddha Sakyamuni. Many ritual objects and containers for the Buddha’s relic enshrinement have been made and deposited in the stupas during the Buddhist ceremonies for Buddhist relic venerations. However, the excavated Buddhist reliquaries in the world exhibit different styles and compositions according to their periodical and regional identities. King Aśoka of ancient India was the first famous historical Chakravartin, or the Buddhist Great King in the third century B. C. E. He excavated the Historical Buddha’s original Eight Great Stupas for searching and venerating the real Buddha’s bodily relics. He concluded his relic veneration with the construction of 84,000 stupas. His stupa construction revealed two contradictory cultural ambivalent characteristics: the Buddhist religiosity towards the sacred relics, and the king’s own secularism to the political propaganda as a Buddhist Great King. Many Buddhist kings in Asia followed the precedent set by King Aśoka. They excavated old stupas for finding the Buddha’s real bodily relic and made new reliquaries and stupas for re-enshrining the Buddha’s relic to propagate their material ownership. However, the Buddhist kings’ ambivalent excavations of the stupas are entirely different from modern archaeological excavations of the ruined stupas or historical Buddhist sites, which have no Buddhist religious identity or beliefs. Buddhist reliquaries are the most important but the most contradictory genre for mirroring the secularity in the Buddhist arts of Asia. Buddhist reliquaries always reveal the cultural ambivalence of the Buddhist religiosity for Buddha’s relic veneration and the humane secularity and material identities of the sponsors and artists who donate or participate in a particular Buddhist relic cult in Asian history.

라신느 비극에 나타난 ‘어두운 모태’의 이미지 연구

주경미 한국프랑스고전문학회 1998 프랑스고전문학연구 Vol.1 No.-

낙랑 고분 출토 금은제 공예품의 연구

주경미 한국전통문화대학교 한국전통문화연구소 2015 한국전통문화연구 Vol.15 No.-

몽골 출토 흉노시대 금속공예품 연구

주경미 동국대학교 WISE(와이즈)캠퍼스 신라문화연구소 2011 신라문화 Vol.37 No.-

In this paper, I examine the ancient metal works excavated from many Xiongnu tombs located in modern Mongolia territory, in attempt to understand the Ancient Nomadic tribe Xiongnu. Ancient Xiongnu tribes built a great empire in the Northern Eurasian continent from the third century B.C. to the second century A.D. They produced many various metal objects made of gold, silver, bronze, gilt-bronze and iron, with the help of their high quality metal techniques. Here I divided the Xiongnu metal works into eight categories according to their usages, which are ①Harness, ②Carriage Accessories, ③Weapon, ④Jewelery, ⑤Metal Container, ⑥Mirror, ⑦Coffin Accessories, ⑧Others. In addition, I researched their techniques and meanings in relation with their material qualities. Ancient Xiongnu metal craftmen knew the developed hammering and forging techniques and high skilled repoussé techniques for either iron or other metals such as gold and silver. They could make gold ornaments encrusted with precious stones, or decorated with gold granulations. Also they used special tools for the fish-row technique and raindrop pattern technique to engrave special patterns on gold and silver sheets, which are very rare techniques in other ancient East Asia. Xiongnu peoples used to make iron jewelry in the same workshop, where they made metal objects with both iron and nonferrous metals. The ancient Xiongnu tombs have been thought as an origin of the ancient Silla tombs because of their similarities in terms of tomb structures, the deposits of gold ornaments and iron harnesses. However, we cannot prove their racial relationship, for Silla and Xiongnu were very far from each other in space and time. The cultural relationship between Silla and Xiongnu only can be understood with the existence of Nangnang (Ch. Lelang) culture, which flourished in the northern Korean Peninsula during the same period with Xiongnu empire, and had many affinities in their metal techniques and usages with ancient Xiongnu culture.

고려시대 월정사 석탑 출토 사리장엄구 再論

주경미 진단학회 2011 진단학보 Vol.- No.113

이 논문에서는 강원도 오대산 월정사의 팔각구층석탑에서 1970년에 출토된 사리장엄구 일괄품의양식적 특징을 재검토하고 그 의의를 재고찰하였다. 물론 아직까지 석탑에서 출토된 전신사리경의 내용이 완전히 공개되지 않은 상태이므로, 편년 연구는 완결되기 어려운 상황이다. 그러나 여기에서는사리장엄구의 출토 과정 재검토 및 개별 유물의 양식적 특징을 살펴봄으로써, 사리장엄구의 편년을11세기 전반경으로 재편년하였다. 월정사 석탑의 사리장엄구는 탑의 제 5층과 제 1층의 두 곳에 마련된 사리공에서 발견되었다. 제5층 사리공에는 불상이 봉안되었으며, 제 1층의 사리공에는 보주형 신사리와 전신사리경이라는 법사리를 함께 매납하였다. 이렇게 신사리와 법사리, 불상을 탑내에 함께 봉안하는 사리장엄 방식은 8세기 이후 통일신라시대의 사리장엄 방식을 계승한 것이지만, 불상의 봉안 위치가 사리와 분리되었다는점에서는 좀 더 시대적으로 늦은 양상을 보인다. 이렇게 불상의 봉안 위치가 사리장엄구와 분리되는비교적 이른 예로는 익산 왕궁리석탑이 있다. 월정사 석탑의 1층에 봉안되었던 사리장엄구는 수정병, 은합, 동합 등 3중 용기로 구성되었으며,그중에서 표형병 형식의 수정병은 비교적 새로운 형식이다. 은합과 동합은 전통적인 형식이지만, 표면에 칠을 한 점이 독특하다. 공양구로서 봉안되었던 네 점의 동경은 10~11세기경에 유행한 형식으로, 사리기를 호위하는 양상으로 남면을 제외한 사방에 배치된 점이 주목된다. 그 중 하나의 동경은오월국시대의 항주 뇌봉탑 지궁에서 출토된 광류소월명경과 같은 형식으로서, 오월국과 고려의 불교문화 교류 양상을 알려준다.

‘여성친화도시’ 부산 만들기

주경미 부산여성가족과 평생교육진흥원 2013 부산여성가족브리프 Vol.- No.18

동아시아 미술사 속의 백제 불교 금속공예

주경미 충청남도역사문화연구원 2011 충청학과 충청문화 Vol.13 No.1

부산여성, 고위관리직 진출 전국 최하위권

주경미,김현지 부산여성가족과 평생교육진흥원 2011 부산여성가족브리프 Vol.- No.10

흉노시대 幻想動物文의 특징과 문화사적 의의

주경미 중앙아시아학회 2022 中央아시아硏究 Vol.27 No.1

From the early twentieth century, the so-called “animal style” art in ancient Central Asian nomadic culture has been studied by many scholars mainly focusing on Scythian cultural artifacts. Although the animal style art has been regarded as the representative and prevalent art style in many ancient nomadic cultures that originated in their natural environment, many scholars have contradictorily wanted to interpret the meaning of their characters and the manufactural regions as a result of the advanced cultural influences from the giant neighboring imperial states like ancient Persia or China. However, there are many disputes on the meaning and stylistic features of the “animal style” art in ancient Eurasian continent. In this paper, I classified the animals in the ancient Central Asian artifacts into two basic categories: animals that exist in the real world and fantastic animals that exist in the imaginations of the humans. In my opinion, the imaginary animals are more significant as those creatures might be the hybrids envisioned from varied features of several real-life animals to visually represent special, invisible, supernatural, or mythical existences. In this paper, I will research on the iconographic features and cultural meaning of the fantastic animals in ancient Xiongnu artifacts, which were made in the later period of the ancient Central Asian animal style arts. These fantastic animals can be classified into four groups according to their zoomorphic features. The first group is related to the so-called Chinese dragon or serpent. The second group is related to the griffin or a monstrous vulture. The third group is related to feline-like beasts. The last group is related to the animal with one horn, or so-called unicorn. However, every fantastic animal in ancient Xiongnu artifacts reveals varied appearance and it is difficult to find similarities between them. Additionally, there are diverse visual transformations among the same groups based on the excavated regions. Many fantastic animals in Xiongnu artifacts are represented as a part of the “animal combat” scenes, but several examples are represented solely as themselves. The most important sole iconographic image is the winged animal with a horn, which was a new fantastic animal in Xiongnu culture excavated from Gol Mod II site in 2011. In Mongolia, this fantastic animal is called “Bers,” a kind of mythical animal in ancient Xiongnu culture. This fantastic animal is an original Mongolian creature in ancient Xiongnu period. In the previous studies on the fantastic animals portrayed in ancient Xiongnu period, many scholars have strictly focused only on the influence of Han Chinese culture, disregarding the cultural and regional originalities of Xiongnu people and the traditionalism in the ancient nomadic culture. However, the material culture of Xiongnu people shows the diverse and vast interrelationships and exchanges across the entire Eurasian continent to the contemporary Egypt in the north of Africa. It means that the cultural interpretation on the Xiongnu culture must be a much wider view of the ancient nomadic culture than the narrow view of the ancient Chinese historical records written by the Chinese who might have been complete outsiders among the Xiongnu and ancient nomads. The famous fantastic animal from Gol Mod II site bears no relationship to the contemporary Han China, but it might have originated from the ancient Near East and Persia. According to the zoomorphic features, the animal iconography might be related to the ancient Near Eastern fantastic animal named “Lion-Griffin,” but the style is originally created in ancient Mongolia with many eccentric variations. In my opinion, this newly created fantastic animal of Gol Mod II site might be the antecedent model of “Simurgh,” the famous fantastic animal in the late Persian myth and culture. The fantastic animal in the ancient Xiongnu period in Mongolia had represented d...

제주도 덕수리 불미공예의 현황과 문화사적 의의

주경미 영남대학교 인문과학연구소 2024 인문연구 Vol.0 No.108

‘Deoksuri Bulmi Craft (德修里 불미工藝)’ is the traditional intangible cultural heritage in Jeju Self-Governing Province since 1986. This craft is the only surviving traditional iron casting technique process with clay mold method in Jeju Island since the late Joseon period. ‘Bulmi,’ is the Jeju dialect of Korean word ‘Pulmu (풀무)’, meaning the bellows. The first holder of this intangible heritage was Master Song Younghwa, and Master Yoon Moonsoo was the second holder. In 2023, Jeju Self-Governing Provincial Government announced ‘Deoksu Village Council (덕수리마을회)’ as the new third holder of this heritage. This decision signifies that Jeju Government recognized that this intangible cultural heritage belongs not to an individual master but to the village community as a whole. This paper surveys the history and current state of this traditional iron casting technique and its technical features. This intangible heritage is also important that continues the legacy of the pre-modern iron casting craft system of ‘Sucheoljang (水鐵匠)’ in Joseon dynasty.