統一新羅鐵佛과 高麗鐵佛의 編年試論 : 忠南 瑞山郡 雲山面의 鐵佛坐像과 雲山面 普願寺址 丈六鐵佛坐像을 中心으로 = The Dating of Iron Buddha Image of the Unified Silla Dynasty -with particular reference to the seated Iron Buddha Image in Unsan-my□n, S□sangun, South Ch'tong -ch’□ng Province

다국어 초록 (Multilingual Abstract)

The present Iron Buddha is one of the most noteworthy images in the history of Korean Buddhist sculpture. However, not only is its provenance unknown, but its date of making has been inappropriately attributed to the Kory□ dynasty, so that it has not received proper recognition.
It is recorded that this Buddha, in bh□misp□rsa m□dra, was removed from Unsanmy □n, S□san-gun, South Ch'ung-ch'□ng Province. It is therefore very possible that this image was enshrined in Pow□n-sa, the nlost famous temple in the area, which since Paekche and throughout the Unified Silla and Kory□ until Chos□n, had a long tradition of keeping the Buddhist faith. The records, however, do not mention Pow□n-sa.
The Buddha sits with right shoulder covered and left shoulder bare, with the right hand in bh□misp□rsa m□dra. The image reflects the mature style of the Unified Silla period : the body is voluminous and substantial, and the drapery f□lds are in "ponp' asik" or wave pattern in which large and small ridges alternate. The broad shoulders, erect body and stable posture of the legs, the face influenced by the T'tong, and the modelling of the body, are all perfectly proportioned. The wave pattern of the drapery was popular during the Unified Silla Period, and this iron Buddha shows the style most clearly.
It is generally known that the casting of iron Buddha images began to flourish in Korea inthe ninth century, but close inspection of the style and technique of this image argues that the technique was already practised in. the mid-eighth century. In this article the writer has clarified the detailed process of casting iron image, and concluded that on the foundations of the techniques for casting bronze images and of modelling terra-cotta images, the casting of iron images was easily accomplished. In other words, the casting and modelling of the present Buddha image in the mid -eighth century was □ possible through mastery of bronze-casting and terra-cotta sculpture. Without excellence of technique, creation of sculptural form could not be accomplished.
In China, Buddhist images in cast iron were mad e on account of a shortage of bronze, and it is said that their manufacture flourished during the T'avg period ; however, no actual examples remain from that time, and the majority date from the Song dynasty. In Japan, the manufacture of iron images began in the thirteenth century during the Kamakura period. Compared to this, in Korea there are five iron Buddha images from the Unified Silla Period, among which this Buddha is certainly the earliest and the most remarkable.
The expression of prana(breath) filling and expanding the vessel of the body, the stable proportions, the buoyant drapery, and perfect technique, all are the product of the most mature period of Unified Silla, and may be compared with the S□kkuram Buddha image.

목차 (Table of Contents)

• 一. 序言
• 二. 雲山面 鐵佛坐像의 樣式 · 形式
• 三. 雲山面 鐵佛坐像의 鑄造技法
• 四. 統一新羅 最盛期의 佛像 樣式論
• - prana와 翻波式衣褶
• 五. 佛像編年의 基本的 諸問題
• 六. 雲山面 鐵佛坐像의 出處問題
• 七. 普願寺址 丈六鐵佛坐像의 考察
• 八. 結語