朝鮮前期(15-16세기)梵鍾 硏究 = (A) study on the buddhist bell in early Joseon period

다국어 초록 (Multilingual Abstract)

Tradition of Korean Bell begins with Sangwon Temple Bell(A.D. 725) and King Sungduk Bell(A.D. 771) in Unified Shilla. Korean Bell which is different from Chinese and Japanese, had carried on its tradition from Unified Shilla to Goryeo. However, since Chinese Bell transmitted its factors to Joseon Period, Korean Bell had a lot of changes in style. It was the situation that confucianism can hardly settle to new ideology, worship for Buddhism still remained in early Joseon Period. At this time, most Buddhist arts supported by Dynasty were superior to those made in the late Period. That is not only craftsman's skill, but economical support from the royal family and nobility could gather those experts.
The first type of Joseon Bell was big bells. It was mostly produced by royal family's support. In late Goryeo, because of Yuan Dynasty's exploitation and decreasing the craftsman's number, the big bells produced almost nothing. It is assumed that the tradition was not able to be expressed. Therefore, with the Yeonbok Temple Bell which was influenced by Chinese style in late Goryeo, the traditional style could represented to Joseon bell and that is what the bell of early Joseon period could be created. In the bell's pattern, appearance of Avalokitesvara statues and Six Words of Buddha in Sanskrit, showed the form of belief in that time. Expression of statues intended to decorate wide body of bells and long inscription also showed the characteristics of first type in early Joseon period.
The second type made under the circumstance that Buddhism became weaken among royal family and nobility. Between the first type which was strongly influenced by Chinese style and the third type which was traditional style, the second style was like transitional period. The bells mean a lot of change in style, because it accepted the first type's style like Yu-guak(乳廓) and human figures as well, also introduced new motives in the pattern like clouds with dragon(雲龍紋), waves(波濤紋), and sanskrit characters(梵字紋). In the way of expression new motives, it was appropriate to the beauty of traditional style. And that is why the second type of bells have great artistic value.
It was the situation that belief for Buddhism still remained among people when the third type of bell begins. Although small support kept going for Buddhist arts, they could get less economical support and gathering experts than the first period. Especially the production of bell decreased rapidly in late Goryeo, it would be hard to succeed its producing skill. At that time, bell could have produced imitating after which remained all over the place. On the other hands, could have tried to restored which had taken away to make weapons.
It is assumed that the Chinese motives could have removed in the third type. However, lack of producing skill and sense of beauty, those imitations couldn't embody to Ideal Works.
It's been told that Korean Buddhist bells influenced by Chinese bells as above, but repeatedly, it is just part of that. As a result of this thesis, the originality of Korean bells is cleared that low posture of Yong-nu(용뉴) and emphasis on three thick lines (太條線) means an effort that seeking traditional own beauty of Korean Buddhist bell. In addition, by their own way, it could be expressed a standing statue of Avalokitesvara to the belief and six words of Buddha in sanskrit to bell's blank space which is very important to Korean Buddhist bells. Therefore it could be explained that not just Chinese influence, also trying to seek Korean own beauty could represented to buddhist bells in early Joseon Period. And that is what The Buddhist Bell of Early Joseon Period means a lot in art history of Korean bells.

목차 (Table of Contents)

• 目次 = ⅰ
• Ⅰ. 序論 = 1
• 1. 연구목적 = 1
• 2. 연구개요 = 4
• Ⅱ. 朝鮮前期 梵鍾의 鑄成 = 5
• 1. 朝鮮前期 政治狀況과 佛敎의 動向 = 5
• 2. 朝鮮前期의梵鍾 = 23
• 3. 朝鮮前期 梵鍾의 製作과 發願 = 35
• Ⅲ. 朝鮮前期 梵鍾의 紋樣 = 53
• 1. 蓮瓣紋과 蓮花紋 = 54
• 2. 梵字紋 = 60
• 3. 菩薩像 = 70
• 4. 龍紋 = 85
• 5. 波濤紋 = 95
• Ⅳ. 朝鮮前期 梵鍾의 樣式 變遷 = 103
• 1. 傳統 韓國鍾의 樣式的 特徵 = 103
• 2. 朝鮮前期 梵鍾의 樣式 變遷 = 112
• (1) 제 1기 양식(15세기초-15세기후반) = 112
• (2) 제 2기 양식(15세기말-16세기초) = 125
• (3) 제 3기 양식(16세기중엽-16세기말) = 132
• Ⅴ. 結論 = 144
• 【資料-1】 = 148
• 【參考文獻】 = 153
• 【圖版目錄】 = 162
• 【圖版】 = 165
• 【 ABSTRACT 】 = 189