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      백제 사비시대 소상(塑像)과 대중교류(對中交流)-3인상의 복식(服飾)과 자세(姿勢) 및 보살상의 두발(頭髮) 표현을 중심으로- = Clay Statues of Baekje Sabi Period and Baekje's Exchange with China-Focusing on the Costume and Posture of a Three-person Statue and the Expression of the Head of the Two Bodhisattva Statues-

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      This paper examines the aspect of exchange between Baekje and China from the late 6th century to the early 7th century through an analysis of three statues excavated from Jeongnimsa(定林寺) Temple, Jeseoksa(帝釋寺) Temple, and Mireuksa(彌勒寺) Temple, the royal temples of Buyeo and Iksan during the Sabi period of Baekje. Specifically, the poses and clothes of a three-person statue, and the hair expression of the two bodhisattva statues were compared and analyzed with data from the Northern and Southern Dynasties period and the Sui-Tang period in China.
      In the case of a three-person statue, previous studies pointed out the similarities with iconography depicting procession and worship scenes in the Northern and Southern Dynasties period. But in this study, I first paid attention to the fact that previous studies had overlooked regional differences in procession and worship scenes of the Northern and Southern Dynasties period. First of all, I investigated that there are differences in the posture of the three people, the composition of the characters, the gender and role of the person serving, and the shape of the Bixie(蔽膝) and wide-sleeved top. With these clues, I confirmed that a three-person statue of Baekje was more closely related to the culture of the Southern Dynasties than the Northern Dynasties.
      Two Bodhisattva statues found at the site of Jeseoksa Temple and Mireuksa Temple, which are said to have been built by King Mu, have curved hairlines. Although this form already appeared in China from the 4th and 5th centuries, it was spread throughout China from the end of the 6th century, and its origin is related to the Chang'an style. The curved hairline first appeared in the 7th century in the Three Kingdoms of Korea, and later became popular in the unified Silla. Therefore, the curved hairline appearing in the two Bodhisattva statues excavated from two temples of Baekje built in the early 7th century can be said to be the result of active exchanges between Baekje and the Sui and Tang dynasties from the end of the 6th century.
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      This paper examines the aspect of exchange between Baekje and China from the late 6th century to the early 7th century through an analysis of three statues excavated from Jeongnimsa(定林寺) Temple, Jeseoksa(帝釋寺) Temple, and Mireuksa(彌勒寺...

      This paper examines the aspect of exchange between Baekje and China from the late 6th century to the early 7th century through an analysis of three statues excavated from Jeongnimsa(定林寺) Temple, Jeseoksa(帝釋寺) Temple, and Mireuksa(彌勒寺) Temple, the royal temples of Buyeo and Iksan during the Sabi period of Baekje. Specifically, the poses and clothes of a three-person statue, and the hair expression of the two bodhisattva statues were compared and analyzed with data from the Northern and Southern Dynasties period and the Sui-Tang period in China.
      In the case of a three-person statue, previous studies pointed out the similarities with iconography depicting procession and worship scenes in the Northern and Southern Dynasties period. But in this study, I first paid attention to the fact that previous studies had overlooked regional differences in procession and worship scenes of the Northern and Southern Dynasties period. First of all, I investigated that there are differences in the posture of the three people, the composition of the characters, the gender and role of the person serving, and the shape of the Bixie(蔽膝) and wide-sleeved top. With these clues, I confirmed that a three-person statue of Baekje was more closely related to the culture of the Southern Dynasties than the Northern Dynasties.
      Two Bodhisattva statues found at the site of Jeseoksa Temple and Mireuksa Temple, which are said to have been built by King Mu, have curved hairlines. Although this form already appeared in China from the 4th and 5th centuries, it was spread throughout China from the end of the 6th century, and its origin is related to the Chang'an style. The curved hairline first appeared in the 7th century in the Three Kingdoms of Korea, and later became popular in the unified Silla. Therefore, the curved hairline appearing in the two Bodhisattva statues excavated from two temples of Baekje built in the early 7th century can be said to be the result of active exchanges between Baekje and the Sui and Tang dynasties from the end of the 6th century.

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      참고문헌 (Reference)

      1 牧田諦亮, "六朝古逸觀世音應驗記の硏究" 平樂寺書店 1970

      2 劉景龍, "龍門石窟 皇甫公(1609)窟" 外文出版社 2010

      3 소현숙, "禮山 四面石佛의 제작 時期와 性格, 그리고 百濟의 對中交涉 -四面像의 형식과 착의법을 중심으로" 동악미술사학회 (26) : 71-95, 2019

      4 鈴木靖民, "梁職貢圖と東部ユーラシア世界" 勉誠出版 2014

      5 이병호, "중국 남북조시대의 소조상과 부여 정림사지" 역사문화연구소 (66) : 3-42, 2018

      6 정옌, "죽음을 넘어-죽은 자와 산 자의 욕망이 교차하는 중국 고대 무덤의 세계" 知와 사랑 2019

      7 진영아, "익산지역 소조상의 편년에 대한 고찰" 한국불교미술사학회 (51) : 179-197, 2018

      8 국립부여박물관, "백제인, 돌을 다스리다 治石"

      9 이병호, "백제 사비시기 소조상의 전개과정" 국립중앙박물관 14 : 2013

      10 최성은, "동아시아 불교조각을 통해 본 百濟 彌勒寺의 佛像" 백제문화연구소 2 (2): 123-158, 2010

      1 牧田諦亮, "六朝古逸觀世音應驗記の硏究" 平樂寺書店 1970

      2 劉景龍, "龍門石窟 皇甫公(1609)窟" 外文出版社 2010

      3 소현숙, "禮山 四面石佛의 제작 時期와 性格, 그리고 百濟의 對中交涉 -四面像의 형식과 착의법을 중심으로" 동악미술사학회 (26) : 71-95, 2019

      4 鈴木靖民, "梁職貢圖と東部ユーラシア世界" 勉誠出版 2014

      5 이병호, "중국 남북조시대의 소조상과 부여 정림사지" 역사문화연구소 (66) : 3-42, 2018

      6 정옌, "죽음을 넘어-죽은 자와 산 자의 욕망이 교차하는 중국 고대 무덤의 세계" 知와 사랑 2019

      7 진영아, "익산지역 소조상의 편년에 대한 고찰" 한국불교미술사학회 (51) : 179-197, 2018

      8 국립부여박물관, "백제인, 돌을 다스리다 治石"

      9 이병호, "백제 사비시기 소조상의 전개과정" 국립중앙박물관 14 : 2013

      10 최성은, "동아시아 불교조각을 통해 본 百濟 彌勒寺의 佛像" 백제문화연구소 2 (2): 123-158, 2010

      11 국립중앙박물관, "고대불교조각대전"

      12 顔之推, "顔氏家訓集解" 中華書局 1993

      13 靑州市博物館, "靑州龍興寺佛敎造像藝術" 山東美術出版社 1999

      14 西安碑林博物館, "長安佛韻 : 西安碑林佛敎造像藝術" 陝西師範大學出版社 2010

      15 武瓊芳, "莫高窟北周故事畫中人物服飾研究" 東華大學 2009

      16 김선기, "益山王宮里傳瓦窯址(帝釋寺廢棄場)試掘調査報告書" 圓光大學校博物館ㆍ益山市 2006

      17 양은경, "百濟 帝釋寺址 出土 塑造像의 분석과 木塔址를 통한 奉安原形 추정" 호서고고학회 (23) : 44-81, 2010

      18 최성은, "百濟 7세기 塑造像의 樣相과 傳播 –신라 및 일본 白鳳期 소조상과 관련하여" 백제문화연구소 1 (1): 5-40, 2013

      19 羅禕波, "漢唐時期禮儀服飾硏究" 蘇州大學 2011

      20 李力, "漢唐之間的宗敎藝術與考古" 文物出版社 2000

      21 孫華, "漢唐之間的宗敎藝術與考古" 文物出版社 2000

      22 "法苑珠林"

      23 楊曉慧, "東魏北齊單體菩薩頭冠初步硏究" 北京服裝學院 2017

      24 張珊, "東晋南朝服飾硏究" 南京大學 2016

      25 국립부여문화재연구소, "扶餘 定林寺址 발굴조사보고서" 2011

      26 李炳鎬, "扶餘 定林寺址 出土 塑造像의 製作技法과 奉安場所" 72․73合 : 2005

      27 成都文物考古硏究院, "成都下同仁路佛敎造像坑及城市生活遺址發掘報告" 文物出版社 2017

      28 국립부여문화재연구소, "帝釋寺址-제석사지 폐기유적-발굴조사보고서Ⅲ" 2019

      29 楊泓, "尋常的精致" 遼寧教育出版社 1996

      30 楊泓, "宿白先生八秩華誕紀念文集" 文物出版社 2002

      31 "宋書"

      32 "妙法蓮華經"

      33 이병호, "夫餘 定林寺址 出土 塑造像의 製作時期와 系統" 74 : 2006

      34 "南史"

      35 王志高, "南京紅土橋出土的南朝泥塑像及相關問題硏討" (3) : 2010

      36 中國社會科學院考古硏究所, "北魏洛陽永寧寺-1979~1994年考古發掘報告" 中國大百科全書出版社 1996

      37 龍門文物保管所․北京大學考古系, "中國石窟-龍門石窟1" 文物出版社ㆍ平凡社 1991

      38 河南省文物硏究所, "中國石窟-鞏縣石窟寺" 文物出版社ㆍ平凡社 1989

      39 雲岡石窟文物保管所, "中國石窟-雲岡石窟2" 文物出版社ㆍ平凡社 1994

      40 敦煌文物硏究所, "中國石窟-敦煌莫高窟3" 文物出版社ㆍ平凡社 1987

      41 敦煌文物硏究所, "中國石窟-敦煌莫高窟2" 文物出版社ㆍ平凡社 1984

      42 劉義慶, "世說新語校箋" 中華書局 2006

      43 "世界美術大全集-東洋編 第3卷 三國ㆍ南北朝" 小學館 1999

      44 董志翹, ""觀世音應驗記三種"譯注" 江蘇古籍出版社 2002

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