高麗前期 石塔 基壇部의 蓮瓣紋 裝飾 硏究

다국어 초록 (Multilingual Abstract)

The stone pagoda with lotus pattern was appeared in Goryeo period. This pattern has been highlighted in that this shows not only the decorative feature of stone pagoda, but also plays a significant role in criteria to distinguish stone pagodas in between Sila and Goryeo era. In the previous study, however, it was just described as the trait of stone pagoda in Goryeo period and didn’t proceed to more deepening studies that collect some cases of the patterns and make the transition of patterns.
Thus, this study focused on gathering 41 cases of the patterns and then speculate on a background, construction time and the feature of stone pagoda with lotus pattern.
A background of decorating a lotus pattern in stylobate of stone pagoda can be described as three cases. Firstly, this pattern was appeared to the stone pagoda of Sila period prior to Goryeo era. Three-stories stone pagoda at Dopiansa temple(到彼岸寺 三層石塔), made in about 865, is the first stone pagoda with lotus pattern in its stylobate, so it can be the initial form of pedestal pagoda. In addition, the stone pagoda with body stone near four Buddhist image in Dong-Cheon Dong(東川洞四方佛塔身石), Gyeong-Ju is decorated with lotus pattern in upper and lower of stylobate stones. Master Doui’s stupa is not a stone pagoda but, its underpinnings made of different stones are also decorated with same pattern.
Second, the phenomenon of sharing styles in stylobate expanded. In the early Goryeo, the tendency of sharing styles between stone works was spread to stone pagodas contrary to the same tendency in Sila period, showed within pedestal, monk’s stupa and stone lantern. This expansion might cause the stylobate of stone pagoda to adorn with the pedestal of Buddha. Through this sharing tendency, the stone pagoda might have became to make lotus patterns in the stylobate. Additionally, the decoration that adorns with lotus patterns in the upper-layer stone of monk’s stupa was shown during the Unified Sila period, and continued to monk’s stupa in the early Goryeo era. As a result of the tendency of sharing styles in stylobate, the stone pagoda was also decorated with lotus patterns in the flat stone, which is a material put on the body stone of pagoda.
Third one is the spread of Buddhist scriptures. ‘Baoqieyin Dharani Stura(寶篋印陀羅尼經)’ was a standard scripture in constructing pagoda for the Goryeo period. In the scripture, it said that if someone published the Dharani and then sealed it in a pagoda, the pagoda would be same as Buddha and he or she could be protected. Therefore, the owe to Sarira in pagoda can express to decorating with lotus patterns on the strength of ‘Baoqieyin Dharani Stura’. Plus, this assumption can be drawn by the fact that the time of introducing scripture coincided with the reveal of decoration with lotus patterns.
The stone pagoda with lotus pattern can be divided into three types, and also detailed based on its subsidiary materials. This is because the location of decorating with lotus pattern spread increasingly from 11th century. Thus, this study can look on more clearly the transition of patterns through this classification.
This study also divided Goryeo era into first and second period, and then assumed the construction time of each pagoda and looked through the transition of patterns. The first period ranges from 936 to the late 10th century, when Goryeo had unified the later three Kingdoms. The second period is from the early to late 11th century.
Considering stone pagodas with lotus pattern one by one, this study arranges the stone pagodas into each period. In the first period, the lotus pattern appeared in the stylobate of stone pagoda and its decorating was established. During the second period, the lotus pattern of stylobate expanded and furthermore its pattern was renewed, so it shows its original formativeness.
When gathering and looking through the cases of stone pagodas with lotus pattern, this study can discover characteristics observed in the stone pagoda with lotus pattern in early Goryeo period. In the stylobate, the stone pagoda appear tendency to stick to double-stylobate, while the other stone pagoda prefers to single-stylobate at the same time. This tendency might have an objective to adorn Ansang pattern(眼象紋) in lower-stylobate. Therefore, it is assumed that Ansang pattern might be reflected on the purpose of enlarging fanciness too, because the stylobate with lotus pattern might be the outcome to emphasize the fanciness of stone pagoda.
The range of stone pagodas decorated with lotus pattern has a little difference, but the noticeable thing is that most of them was located in the area of later three kingdom’s period. It might be considered as the tendency to return to previous tradition lasted from the late Sila period. This assumption can be supported by the fact that the stone pagodas with lotus pattern are situated within the area of boundary of Goryeo except for three stone pagodas.
Plus, it is appeared that subsidiary materials decorated with lotus pattern had increased. In the first period, stone pagodas were not decorated with lotus pattern, apart from the pedestals-upper surface of lower-layer stone and lower one of upper-layer stone-flat stone of upper stylobate, and underpinnings made of different stones. In the second period, however, the lotus pattern appeared in the flat stone of lower stylobate and foundation stone as well as was decorated in both upper and lower flat stone. This change means that the lotus pattern had increasingly a purpose to decorate contrary to previous meaning, which is Sarira in the body stone of pagoda.
Meanwhile, a noticeable thing is that the area of lotus pattern decorated in flat stone was decreased. Three-stories stone pagoda in JukSan-Li(竹山里 三層石塔), three-stories stone pagoda at Seungansa temple site(昇安寺址 三層石塔), and three-stories stone pagoda in Nongok-Li(論谷里 三層石塔) made in the first period were full-decorated with the lotus pattern, especially in the flat stones. But in the second period, it is appeared that the areas of lotus pattern were either decreased or stylized. Stone pagoda in SangLim-Li(上林里 石塔), nine-stories stone pagoda at Sajabinsinsa temple site(獅子頻迅寺址 石塔), and other stone pagodas constructed in the second period also showed this changes.
Additionally, it is important that the lotus pattern of stone pagoda’s stylobate not only had impact on the construction of stone pagodas during the same period, but also proceed to the stone pagoda of Joseon dynasty period. This study identified the influence on stone pagodas of same period by speculating the stylobate of blue-stone stupa and metal stupa adorned with lotus pattern. The number of stone pagoda constructed in the Joseon dynasty period might be nothing more than twenty, but most of them has the stylobate decorated with lotus pattern. Also, the stone pagodas of Joseon dynasty period were related to the ones of Goryeo era in that the planes of stone pagoda are square and octagon.
In addition to the stylobate stone pagoda, six-stories stone pagoda in Seonunsa temple(禪雲寺 六層石塔), Gochang is decorated with lotus pattern on the lower surface of flat stone. Seven-stories stone pagoda at Naksansa temple(洛山寺 七層石塔) and five-stories stone pagoda in Bosalsa temple(菩薩寺 五層石塔), CheongJu are adorned with lotus pattern on the lower-layer stone. Lastly, the stone pagoda in Yongyeonsa Temple(龍淵寺 石塔), Gangneung is decorated with same pattern on the foundation stone. Through these cases, it is supported that the lotus pattern appeared in stone pagoda during Goryeo period was succeed to Joseon dynasty era.
This study gathers and looks through some cases of stone pagoda with lotus pattern. Through a series of considerations, it is identified that the stone pagoda with lotus pattern has its trait and transition. Consequently, the lotus pattern appeared in stone pagoda is not understood as a kind of fanciness but one type of stone pagodas by itself.
However, The object of this study is limited to the stone pagodas in the early Goryeo period that have an absolute chronology and many precedent studies dealt with same pagoda. In this regard, this study has a shortage because it didn’t inspect on the other stone pagodas in the middle or late Goryeo era. Therefore, studies about the stone pagodas with lotus pattern in the Joseon dynasty as well as late Goryeo period should be proceed in the afterwards. Especially, the stone pagodas located in the North Korea, where there are stylobate stone pagodas also be demonstrated. Hopefully, this study will be some help to use details of stone pagodas as a kind of standard, when studying stone pagodas.

목차 (Table of Contents)

• Ⅰ. 머리말 1
• 1. 硏究 目的 1
• 2. 硏究 方向 6
• Ⅱ. 高麗 石塔의 建立과 樣式的 特徵 9
• Ⅲ. 高麗前期 蓮瓣紋 裝飾 石塔의 現況과 建立背景 18
• 1. 現況 18
• 2. 建立背景 22
• 1) 統一新羅 石塔 基壇部의 蓮瓣紋 裝飾 22
• 2) 石造物의 基壇部 공유 현상 확대 27
• 3) 寶篋印經의 유입 33
• Ⅳ. 高麗前期 蓮瓣紋 裝飾 石塔의 類型과 編年 44
• 1. 類型 分類 44
• 2. 編年 48
• 1) 1期(936년~10세기 말) 53
• 2) 2期(11세기 초~11세기 말) 74
• Ⅴ. 高麗前期 蓮瓣紋 裝飾 石塔의 特徵과 중요성 97
• 1. 特徵 97
• 1) 基壇部 97
• 2) 分布 107
• 3) 蓮瓣紋의 變化 114
• 2. 영향과 계승 125
• 1) 高麗前期 佛塔에 미친 영향 125
• 2) 朝鮮時代 石塔으로의 계승 134
• Ⅵ. 맺음말 139
• 【參考文獻】 145
• 【表 目錄】 156
• 【揷圖目錄】 156
• 【圖版目錄】 158
• 【圖版】 164
• 【附錄】 195
• 【Abstract】 198