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홈 > 간행물 권호
  • 발행기관: 동국대학교 박물관
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佛敎美術(BUDDHIST ART)

  • 발행기관 : 동국대학교 박물관(Dongguk University Museum)
  • 출처구분 : 학회
  • 간행물유형 : 학술저널
  • 발행주기 : 연간 (발행월:2)
  • pISSN : 2234-2508
佛敎美術
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朝鮮 後期 木造阿彌陀如來三尊 佛龕과 阿彌陀如來七尊 佛龕 考察
朝鮮 後期 木造阿彌陀如來三尊 佛龕과 阿彌陀如來七尊 佛龕 考察
손영문(Son Young Moon)
동국대학교 박물관 / 佛敎美術 第30號 / 2019 / 11-38 (28 pages)
예술체육>미술 / KDC : 예술 > 예술 / KCI : 예술체육 > 미술
초록보기
From November 12th to 14th, Dongguk University museum held special exhibition called Jeun Dan Ji Hyang (栴檀之香) commemorating university s 112 years history. In the special exhibition, two late Joseon period portable buddhist shrine sculptures with different shapes were submitted and displayed. One portable buddhist shrine is widely known as Amitabha Triad sculpted by Hyeon won which was held by professor Mun Myeong Dae, who was a director of Dongguk University museum long time ago. Another portable buddhist shrine was held by Chentae ( Tiantai ) sect central museum. One that Dongguk University museum has a cylindrical shape from shoulder to abdomen, thus it is also referred as shell case shape type or bomb shape type portable buddhist shrine. One that owned by Chentae ( Tiantai ) sect central museum has octagonal roof shrine style. it is a religious view that it is not suitable to call portable buddhist shrine a bomb shape type, and portable buddhist shrine shape is more to a lotus peak. Thus it is more suitable, in religious view point, to call it bell shaped or lotus peak shaped . Style of Bell shaped portable buddhist shrine was developed based on . This portable buddhist shrine has a great significance as an example of the earliest portable buddhist shrine in the late Joseon Dynasty. It was originally know as sculpted by Hyeon won. However. from shape and form are more related to Cheong Hun Yu Pa, its expressionless and solemn facial expression, simple shaped drawing which bring modesty, hand signature of Amitabha Buddhist and the shape of Buddhist robe suggested that it is deeply related to made in 1634 and made in 1639, From 2002 to 2013, Cultural Heritage Administration conducted nationwide cultural property, which are held in buddhist temple, research in order to form datebase on sculptures from the late Joseon period. As a result of comparative study among many buddhist sculptures s work, this portable buddhist shrine is highly likely made by Hyeon Yun, who might be identical person with name of Hyeon won or miss read Hyeon Yun (賢允) from Hyeon won (賢元) since their Chinese characters are very similar. Hyeon Yun sculpted under Cheong heon (淸憲) who was one of the most representative buddhist sculpture of 17th century. Cheong heon s work is rarely exist, thus if this portable buddhist shrine is a work of Hyeon Yun, it has significant meaning in sculpting history. It is regrettable that it is not possible to know exactly which Yu pa the portable buddhist shrine sculpture made by because the original votive document of the was not discovered at Chentae ( Tiantai ) sect central museum. However, this portable buddhist shrine shows simplified octagonal shaped buddhist shrine form in the late 17th century, and angle rafter had cloud shaped Yeoui dumun decoration. Door latch s from is also creative. In the spacious inner area, there are seven figures which hakyamuni Buddha at the center is f lanked by the Bhaisajyaguru Buddha and four bodhisattvas. Among portable buddhist shrines, this showed and had form of the most dramatic scene of paradise in late Joseon period. The Buddhist statues have monotonous and child-like body proportions, and have a soft and slender face. On the right shoulder, there is an impressive wrinkle that crosses twice with the short waistline, the beneath the clavicle and the abdomen center shape W . This sculpture can be compared with sculptures from Sec Nan Yu Pa or Dan Eung Yu Pa. The shape of the portable buddhist shrine, the detailed expression system, and the formative features of the simple octagonal shape are similar to the portable buddhist shrine which was sculpted by Sec Nan
조선후기 목조 불패와 동국대박물관 특별전시회 출품작 고찰
조선후기 목조 불패와 동국대박물관 특별전시회 출품작 고찰
김수현(Kim Su-Hyun)
동국대학교 박물관 / 佛敎美術 第30號 / 2019 / 40-71 (32 pages)
예술체육>미술 / KDC : 예술 > 예술 / KCI : 예술체육 > 미술
초록보기
Buddhist wooden tablet is a wooden form tablet that is used for rituals in buddhist temple or to make Buddhist alter more grandeur. In Buddhism, Buddhist wooden tablet is ritual tool that symbolizes characters such as Buddha and Bodhisattva. It is also being considered as a medium through which the Buddhist could meet Buddha. It is considered that this form of Buddhist wooden tablet was produced in Korea since the 15th century. According to Buddhism engravings made in the 15th century, such as Worin seokbo ( Episodes from the Life of Sakyamuni Buddha ) 『 月印釋譜 』, This Buddhist dharani spread out and diffused due to its easy teaching 『 佛頂心陀羅尼經 』 etc.. started to illustrated icons of Buddhist wooden tablet. Buddhist wooden tablet located in Anseong Chiljangsa Temple is the only Buddhist wooden tablet made in the early Joseon period. This tablet was confirmed to be produced in year 1557 and used as The Three Palace Plaques ‘ 三殿牌 ’. The most active period for the production of Buddhist wooden tablet is after the 17th century, the latter part of the Joseon Dynasty. This is because of the loss of Buddhist temples in the late 16th century due to war such as Japanese invasion of Korea in 1592. With the loss of Temple, wooden tablets were also being destroyed, which increased the demand of the tablet after the war is over. Moreover, Buddhist rituals, such as Suryukjae ( Land and Water Rite ) was centered around Buddhist temples. According to Chunjimyeongyang suryukjaeuibumsanbojip (天 地冥陽水陸齋儀梵音刪補集) written by Buddhist Jihwan from late 17th century to early 18th century, in order to perform ritual, such as junpae eun (殿牌移運) , Buddhist wooden tablet must be equipped as ritual instrument. In the late Joseon period, use of Buddhist wooden tablet was divided largely into two. plaque that pray for longevity and prayers for the loyal family and The Three Palace Plaques that used in a buddhist worship. The plaque was generally set up in a set of three, and it was encircled on altar. In the majesty pattern, dragon and phoenix symbolizing the royal authority were expressed together with clouds, lotus, and peony. On the other hand, The Three Palace Plaques is not clear in its quantity to be sealed in altar, and its majesty pattern is characterized by its religious color, such as full-length, top, lotus flower, chrysanthemum flower and bead. Analysis of the work that can identify the precise time of production by leaving a prestigious seal on the bottom of the tablet or the back of the tablet in the late Joseon period. from early 17th century to early 18th century, head, body and bottom of Wooden tablets were beautifully, splendidly, and magnificently designed in small to medium size. However, after mid 18th century, tablet s structure and form were simplified and the size of the tablet became smaller. Separately, 1 to 2 meter wooden tablets were made temporarily to be enclosed in a large Buddha statue from 4 to 6 meters long from the first half of the 17th century to the second half of the 17th century. Buddhist wooden tablets were made with other wooden pieces, such as statue of Buddha and Bodhisattva, altar, and platoon, and interestingly, buddhist monk sculptures, who easily handle the trees, participated in the work. All four pieces of the exhibition which were exhibited at the Dongguk University Museum Special Exhibition show no typical record of production, but it shows the typical form of the Buddhist wooden tablets produced in the late Joseon Dynasty. Among the exhibits, Dongguk University Museum s 3 collections, tablet s body and head were used in the majestic pattern and the phrases described in the work shows that they were plaque. The other two were made before 18th century mid size tablets and large size tablet that only head and body were remained is considered to be made between the middle of 17th century to late 17th century. On the other hand, tablet collection of Chentae ( Ti
동국대박물관 소장품 과학적 분석 보고서
동국대박물관 소장품 과학적 분석 보고서
김수철(Kim Soo Chul)
동국대학교 박물관 / 佛敎美術 第30號 / 2019 / 73-109 (37 pages)
예술체육>미술 / KDC : 예술 > 예술 / KCI : 예술체육 > 미술
초록보기
We conducted a scientific analysis on 13 collections of Dongguk University museum. These were identified to Hard pine ( Pinus spp. )( 4 ) , Salix spp. ( 4 ) , Tilia spp. ( 3 ) , Ginkgo biloba L. ( 2 ) , Acer spp. ( 2 ) , Cryptomeria japonica D. Don ( 2 ) , Alnus spp. ( 1 ) , and Juglans spp. ( 1 ) . In the case of collections requiring fine processing and sculpture, such as Buddhist statues, ceilings, and decorative elements, Tilia spp., Ginkgo biloba L., Hard pine ( Pinus spp. ) , Alnus spp., Acer spp. and Salix spp. were used. Hard pine ( Pinus spp. ) , and Ginkgo biloba L. are conifers, which are easier to process because they have lower strength than species belonging to broadleaved trees. In addition, Tilia spp., Alnus spp., Acer spp. and Salix spp. are broad-leaved trees, but they are uniformly and lightly made of materials with less than 15% shrinkage and less twisting during processing and drying ( Lee, 1997 ) . Therefore, it was confirmed that the artifacts possessed by Dongguk University Museum were selectively used according to the objects to be produced. However, Cryptomeria japonica D. Don were identified in the wooden sarira case and sarira reliquary. Although Cryptomeria japonica D. Don is rough, it is used for furniture and building interior materials ( Lee, 1998 ) . Cryptomeria japonica D. Don is known to be originated in Japan and imported from Japan before 1900 ( Park, 2011 ) . Therefore, it is presumed that wooden sarira case and sarira reliquary are made in Japan or imported from Japan. Through various scientific instruments, it was found that The Wooden Bodhisattva Statue (木 彫菩薩立像) and The Wooden Amitabha Samphire Buddhist Statue (木彫阿彌陀三尊佛龕) were remodeled using copper ( Cu ) and gold ( Au ) . Especially, FT-IR analysis showed that abietic acid was detected in the part of The Wooden Amitabha Samphire Buddhist Statue (木彫阿 彌陀三尊佛龕) paint. Abietic acid belongs to the rosin component and is currently used as a solvent for varnishes and synthetic resins. Therefore, it is presumed that the past preservation treatment was proceeded by applying varnish or synthetic resin paint, which is a modern material. A collection of pigments, such as Buddha s Disciples Statue (羅漢像) , Buddhist Boy Attendants (童子像) , The Wooden Amitabha Samphire Buddhist Statue (木彫阿彌陀三尊佛龕) , Buddhist Plate (經板) , is presumed that Lead White ( White ) , Cinnabar ( Red ) , Hematite ( Brown ) , Emerald Green ( Green ) , Ultramarine Blue ( Blue ) , which are natural mineral pigments mainly used. Especially, it is confirmed that red pigment of The Buddhist plate (勸修淨業往生捷徑 板) was used Cinnabar ( HgS ) , red pigment of Bulgam was used Red Lead ( Pb₃O₄ ) , so it was judged that various pigments were used even if they had the same color depending on the production time, use and form of the artifact. The results of this scientific analysis are expected to be used as basic data for conservation and restoration of museum collections of Dongguk University.