日本所在 韓國 密敎法具의 현황과 특성 -高麗 金剛鈴을 중심으로-

최응천 동국대학교 WISE(와이즈)캠퍼스 신라문화연구소 2017 신라문화 Vol.49 No.-

This paper is a research on vajra bell one of the esoteric Buddhist ritual objects in Japan as a joint research theme with Taisho University in 2015. Although the research was limited to 31 the esoteric Buddhist ritual objects, it was possible to present Korean that were produced in Korea or possibly made in Korea among the esoteric Buddhist ritual objects in Japan. Furthermore, it was possible to understand the acceptance and development of the esoteric Buddhist ritual objects in East Asia and the characteristics of the esoteric Buddhist ritual objects of Korea, China, and Japan. Among the 31 the esoteric Buddhist ritual objects, it is a big achievement that 17 vajra bells and vajras which is estimated to be made in Korea is much more than that which is known in the past. The vajra bell newly excavated at Dobong Seowon is worthy of being the first example of East Asia that combines Five Great Kings, Brahma, Indra and the Four Devas into one body. Through the discovery of this vajra bell, it is possible to clarify the exchange and development process of the Korean esoteric Buddhist ritual objects in East Asia. The problems related to the nationality of vajra bells and vajras must be clarified in the study of the East Asian esoteric Buddhist ritual objects.

安養 石水洞 磨崖打鐘像의 造形과 編年 -범종 양식을 통해 본 마애종의 제작시기를 중심으로-

최응천 한국불교미술사학회 2010 강좌미술사 Vol.34 No.-

A Buddhist bell and monk image carved on a cliff located in Seoksu-dong, Anyang, Gyeonggi-do is highly valued not only because it is the only wall carving describing a bell in Korea but also because it expresses a standing monk hitting a bronze Buddhist bell. The wooden Buddhist bell hammer the monk is holding constitutes the most detailed material ever found that assists in the recreation of an ancient wooden Buddhist bell hammer. The Buddhist bell carving in Seoksu-dong is presumed to have been produced between the early and mid-11th century in the Goryeo era, because it reflects the style of Goryeo Buddhist bells characterized by having four striking points while following the style of the Buddhist bell of the early Goryeo era that faithfully inherited the style of the Buddhist bell of the Unified Silla era. Judging from its size of the figure carved on the wall, the bell carving is evaluated as the masterpiece of the early Goryeo era that embodies, with appropriate involvements of omitting and emphasizing, the specific moment the monk at the time was hitting the Buddhist bell a little larger than 2 meters in the bell pavilion. The reason behind the creation of the carving lied in overcoming the limitedness of a bronze Buddhist bell and eternizing the ultimate aim and meaning of hitting a Buddhist bell, though it did not make any sound. Besides it is significant not because it has simply transformed a bronze Buddhist bell into a bell carving in granite but because it has expressed the mercy represented by a Buddhist bell into the carving through embodying a Buddhist symbol and a desirable sound. Furthermore, it is appropriate to change its current name Maaejong (A Buddhist bell image carved on a cliff) into Maaetajongsang (A Buddhist bell and monk image carved on a cliff) to include the importance of the carving describing the standing monk hitting the bell. The bell carving is significant in that it is the only carving describing the moment of hitting a Buddhist bell in Korea and even in East Asia. In this regard, it should be designated and protected not as a local cultural asset but as an important national cultural asset. 경기도 安養 石水洞에 소재한 磨崖打鐘像은 우리나라에서 유일하게 벽면에 조각한 마애종이란 중요성만 있는 것이 아니라 당시의 범종을 타종하는 승려 입상을 함께 표현하고 있다는점에서 그 가치가 크다. 승려가 들고 있는 撞木도 지금까지 확인된 바 없는 고대의 범종 당목을재현할 수 있는 가장 구체적인 자료가 된다. 석수동 마애종은 통일신라 범종 양식을 아직까지 충실히 계승하고 있는 고려 초의 범종 양식을 모본으로 하면서도 4개의 당좌를 지닌 새로운 고려 범종 양식을 반영하고 있는 점에서 고려 11세기 전~중반 쯤 제작된 것으로 추정된다. 인물상의 크기로 미루어 볼 때 鐘樓 안에 달린2m 조금 넘는 대형 범종을 당시의 스님이 당목으로 打鐘하는 구체적인 장면을 생략과 강조를적절히 조화시켜 구현한 고려 전기 마애조각의 걸작으로 평가된다. 청동범종이 지닌 유한성의한계를 극복하여 비록 소리를 표현하지 못하지만 범종을 치는 궁극적인 목적과 의미가 영원무궁토록 이어질 수 있게 만든 것이 바로 이 마애타종상의 조성의도라 할 수 있다. 아울러 단순히청동의 범종을 화강암의 마애종으로 변화시킨 의미가 아니라 불교의 상징과 이상의 소리를 구현해 냄으로써 범종이 지닌 자비의 사상을 조각으로 표현해 낸데 그 의의를 찾을 수 있다. 명칭도 지금까지 불린 마애종이라는 단순한 의미보다는 종을 치는 승려입상의 중요성을 함께 아우를 수 있는 磨崖打鐘像으로 고쳐 부르는 것이 타당하다. 이 마애조각은 국내 유일 뿐 아니라 동아시아 유일의 마애 타종상이라는 중요성과 의의를 지닌 점에서 지방 문화재 차원이 아니라 국가의 중요문화재로 지정되어 보호되어야 할 것으로 판단된다.

日本에 있는 韓國 梵鐘의 종합적 고찰

崔應天 동악미술사학회 2007 東岳美術史學 Vol.0 No.8

韓國禁口形金鼓의 造形과 展開

최응천 동악미술사학회 2012 東岳美術史學 Vol.0 No.13

우리나라의 금고는 통일신라 9세기쯤 禁口라는 명칭이 정립되고 측면이 두터우면서 뒷면이 안으로 좁아진 共鳴口를 형성한 형태에서 출발하여 고면에는 아무런 문양이 시문되지 않다가 점차 撞座주위로 간략한 연화문이 시문되기 시작한 것으로 파악된다. 그러나 고려시대에 들어와 후면의 공명구가 확장된 새로운 금고 형식인 盤子形금고, 즉 1형식 금고가 제작되기 시작하였다. 麟角寺출토 금고와 같은 통일신라의 禁口形金鼓는 고려시대 12세기 중엽 쯤 부터 다시 보이기 시작하는데 후면의 작은 공명구를 뚫는 형식은 따르고 있지만 側幅이 그다지 두텁지 않아 고려 반자와의 절충 양식을 보여준다. 그렇지만 12세기 이후에 들어오면 측면의 폭이 두터워지는 통일신라 금구형 금고의 형식을 계승한 작품이 제작되었고 ‘禁鼓, 禁口’와 같은 전대의 명칭을 다시 사용하였다. 고려 금구형 금고의 획기적인 변화는 13세기 초에 이루어지는데, 후면의 공명구가 완전히 막히고 측면에 裂口式공명구가 뚫리는 일본 와니구찌[鰐口]식 금고의 출현이다. 그 시기는 지금까지 알려진 景禪寺銘금구(1214년)보다 앞선 1204년 觀音寺銘금고가 가장 이른 예로 새롭게 밝혀졌다. 이처럼 고려시대의 禁口形金鼓는 12세기까지 뒷면에 작은 공명구가 뚫린 통일신라 형식을 따르고 있지만 13세기 초부터 앞, 뒤가 막히는 새로운 고려 금구형 금고가 만들어지게 되어 새로운 계승을 이루게 된다. 그러나 남아있는 명문의 분석을 통해 살펴보면 이 두 가지 형식은 금구라는 통일신라의 명칭을 중심으로 吏讀式표현만이 다를 뿐 당시에도 이 두 가지 형식을 금구의 범주에 넣어 이해하였다는 점을 파악해 볼 수 있다. 13세기 전반 이후에는 금구형 금고 대신 고려시대의 새로운 형식인 반자형 금고가 주로 제작되어 13세기 말까지 금구형 금고의 예가 전혀 보이지 않는다. 그러다가 14세기에 들어와 두 점의 금구형 금고를 확인할 수 있으며 1351년에 제작된 感恩寺址반자의 명문에 기록된 飯子와 禁口의 명칭을 분명히 구분하여 기록한 점을 통해 고려 말까지 금구형 금고가 꾸준히 제작되었던 사실을 입증해 준다. 조선시대의 금구형 금고로서는 일본 對馬島普光寺소장 梵字文금고가 조선 전기에 만들어진 작품일 가능성을 제시해 보았다. 따라서 통일신라 9세기 중엽 경에 모습을 보이기 시작한 뒷면에 작은 공명구가 뚫린 한국의 금구형 금고는 고려시대에 들어와 두 가지 형식으로 계승을 이루다가 고려 후기에 와서는 2 형식은 사라지는 대신 3형식만이 남게 되고 조선 전기까지 전해진 것으로 추정해 볼 수 있다. The terms ‘Kumku’(禁口) and the form of Korean Buddhist gong were set up at 9th Century Unified Silla. In form Buddhist gong of 9th Century Unified Silla the side got thicker and the back formed resonance mouth was into narrow(2nd type). The frontal that was no patterns was decorated with lotus design around the striking point. Coming to Goryeo period, however, Banja-shaped Buddhist gong(1st type) that was the wider resonance mouth of the back began to be produced. The Kumku-shaped Buddhist gong of Unified Silla like Buddhist gong excavated at Ingaksa temple site began to appear again in the 12th century. This type followed the narrow resonance mouth, however, the width of side was narrower than that of Unified Silla. But after the 12th century, the Kumku-shaped Buddhist gong that inherited style of Unified Silla not only began to make but also followed the traditional terms. In Kumku-shaped Buddhist gong of Goryeo, the epoch-making changes occurred in the early 13th century. This type so called Waniguchi(鰐口) style formed side resonance mouth instead of the back resonance mouth(3rd type). Until now the oldest Waniguchi style gong was the Buddhist gong with the inscription Gyeongseonsa temple(景禪寺) that was made in 1214, but the Buddhist gong with the inscription Gwaneumsa temple(觀音寺) in Japan turned out to be the oldest one. Kumku-shaped Buddhist gong of Goryeo maintained the tradition of Unified Silla style until the 12th century, Kumku-shaped Buddhist gong of Goryeo style was made in the beginning of the 13th century. According to inscriptions on the gong, Kumku-shaped and Banja-shaped Buddhist gong were different in Idu(吏讀) representation. But these two types were understood byput in the same category. Kumku-shaped Buddhist gong of Goryeo that was not made from the early 13th century to the late 13th century began to be made coming to the 14th century. The Kumku-shaped Buddhist gong with Sanskrit characters of Hokuji temple(普光寺) in Tsushima of Japan is likely to be made in the early Joseon. The Kumku-shaped Buddhist gong of Unified Silla that started to show up in the middle 9th century formed a narrow resonance mouth in the back. Coming to Goryeo period, the Kumku-shaped Buddhist gong that inherited the former style developed two different types, Kumku-shaped and Banja-shaped Buddhist gong. For the late Goryeo period 3rd type Buddhist gong still remained, in addition this type Buddhist gong lasted by the early Joseon period.

高麗時代 靑銅金鼓의 硏究 : 特히 鑄造方法과 銘文分析을 중심으로

崔應天 동국대학교 박물관 1988 佛敎美術 Vol.9 No.-

百濟 金銅龍鳳香爐의 造形과 編年 - 陵山里 출토유물의 비교를 중심으로 -

최응천 국립중앙박물관 2000 동원학술논문집 Vol.2 No.-

인터뷰 - 5월부터 '문화재(文化財)' 용어, 국제 통용되는 '국가유산(國家遺産)'으로 변경 "정책 패러다임 바뀌며, 우리 유산 우수성 세계에 확산되길 기대"

최응천,Choi, Eungchon 대한건축사협회 2023 建築士 Vol.657 No.-

특집논문2 - 문무왕대의 통치정책 - : 문무왕대의 미술 - 조각과 금속공예 -

최응천 동국대학교 신라문화연구소 1999 신라문화 Vol.16 No.-

N/A

일본 소재 한국 문화재의 연구 현황과 성과

최응천,Choi, Eung-chon 국립문화재연구소 2014 헤리티지:역사와 과학 Vol.47 No.3

After independence, more introductory books on Korean culture were published in both Korea and Japan, along with various papers briefly presenting relevant materials. There are differences depending on the research field, however, a considerable number of articles about Buddhist paintings were published. Research on Korean sculpture was quite active among Japanese scholars. And numerous articles and publications on Korean painting were also presented in both Korea and Japan. Publications on Korean ceramics were increased as much as in other fields. From the late 1980's through late 1990's, research on Korean cultural properties continued to increase, as many young scholars began to conduct research very actively in Korea, producing many articles to introduce new materials. A small number of Japanese scholars also continued to research Korean cultural properties. The overall number of Korean researchers also increased, as existing scholars were joined by students who went to Japan to study and conduct research, thereby helping to significantly expand the area and topics of research. In this period, the exchange exhibitions between Korea and Japan were increased. Also the substantial research reports was began to be published by the national institution. From the early 2000 thrugh present, in all fields, research has progressed and improved since the late 1990's, with many individuals pursuing a microscopic approach to their artifacts and works. More graduate students have been focusing on Korean cultural properties in Japan as the subject of their master's or doctorial thesis in art history, and overall number of researchers in various areas has increased. In the field of Buddhist painting, painting, and Buddhist crafts some important books and articles have been published. However, research achievements have been somewhat uneven. In the area of ceramics, several significant examples of substantial research reports were published by the National Research Institute of Cultural Heritage. These publications are outstanding references that illustrate the future direction of research on Korean cultural properties in Japan.

정창원(正倉院) [쇼소인] 금속공예의 연구 현황과 과제

최응천,Choi, Eungchon 국립문화재연구소 2018 헤리티지:역사와 과학 Vol.51 No.3

The $Sh{\bar{o}}s{\bar{o}}-in$(正倉院) is the detached storage building for Japanese treasures that belongs to $T{\bar{o}}dai-ji$ in Nara, Japan. The reason why $Sh{\bar{o}}s{\bar{o}}-in$ collections are drawing attention is that Japanese artifacts, sculptures, paintings, and other objects that were introduced through the Silk Road, such as Sasanian Persia and India, and those that were introduced from the Unified Silla and Tang China. In addition, hundreds of well-preserved documents of $Sh{\bar{o}}s{\bar{o}}-in$ collections play an important role as a historical reference material covering not only the social situation of the time but also the history of exchange of cultural diplomacy and the change of Buddhist doctrine. In particular, some of collections of $Sh{\bar{o}}s{\bar{o}}-in$ were made in China and may have been imported or received as gifts, but many of the artifacts made in Baekje and Unified Silla are becoming more and more important. This paper examined the research status of $Sh{\bar{o}}s{\bar{o}}-in$ metal crafts of Korean and foreign scholars, and examined the association with the relics of $Sh{\bar{o}}s{\bar{o}}-in$ through metal crafts excavated from the Korean Peninsula. The research on the future direction of $Sh{\bar{o}}s{\bar{o}}-in$ collections should be summarized as follows. 1. Systematization of state-level support and single window for the research of $Sh{\bar{o}}s{\bar{o}}-in$ collections 2. Accurate listing and database of $Sh{\bar{o}}s{\bar{o}}-in$ collections 3. The positive implementation of joint research with Japan and invitation of researchers related to $Sh{\bar{o}}s{\bar{o}}-in$ collections 4. The exchange exhibition between the Korean National Treasures and the $Sh{\bar{o}}s{\bar{o}}-in$ collections 5. Expansion of the research base through the publication and support of books related to $Sh{\bar{o}}s{\bar{o}}-in$ collections.