• 복식
• /
• 제50권7호
• /
• pp.47-58
• /
• 2000

Prime Minister Kim tart-song is said to have built this cave temple in the tenth year of the reign of King Kyongdok-wang(742-765) of Unified Shilla(751). The numerous stone Buddhist images in the grotto represent the best Buddhist figure of the Unified Shilla period and of all Korea. The Sokkuram Grotto is composed of the main hall, entrance to the main chamber and antechamber in space. The main hall beyond the small antechamber is round and the ceilling is domed. Within the rotunda sits a majestic Buddha(Amitabha), 3.48m in height and 2.6m in width, carved in granite and facing east. Surrounding the main Seated Buddha are eleven-headed Avalokitesvara Bodhisattva, Manjusri Bodhisattva and the other three Buddhist images, Ten disciples, Buddhist figures in the ten Niches in relief. An eleven-headed Avalokltesvara Bodhisattva of boundless mercy is sculptured on the wall behind the main Seated Buddha. Further guarding the Buddha are ten standing Arhans of the Disciples of Buddha. Next, two Devas. one on each side, stand guard. Two Bodhisattvas are the saints who are next to the Seated Buddha in importance, also one on each side. And, There are ten niches around the dome. They contain seven seated Bodhisattvas and one Vimalakirti(the name of a famous lay disciple of the Buddha). Two niches are empty. Consequently, there are total thirty-eight Buddhist images in the Sokkuram cave temple. The Buddhist images have been reguarded as masterpieces of Buddhist art and Shilla culture of Unified Shilla in the eightth century. The Buddhist images are represented very dear, elegance and beauty of detail skill

• 건축역사연구
• /
• 제17권4호
• /
• pp.129-152
• /
• 2008

Early Buddhist rock cave temples of India, in spite of being an origin of Buddhist temples, has little been studied in Korea. After field studies and an interpretation of their forms in conjunction with religious life, precedent theories are supplemented and refuted as follows. Starting from the 2nd century B,C., Buddhist ascetic disciples digged residential rock caves, called vihara, for protection from monsoon rain and hot weather, A typical arrangement was settled -a courtyard type, with 3 side rows of tiny one-person bedroom and a front veranda with columns. Also digged were Chaitya caves, in line with viharas, to worship, which is the tumulus of Buddha's relics. I suggest that the original type of chaitya a simple circle cave with a stupa, suitable for circumambulating ceremonies. I refute the existing theory presenting Barabar caves of Ajivika as a chaitya origin, featuring empty circular room without a stupa. I also interpret a typical apsidal plan as being a simple result of adding a place of worshipping rites in front of the stupa. Enclosing columns around a cylindrical stupa is a result of reinforcing both the divine space and circumambulating ceremonies, with elongation toward hall. Finally the chaitya came to have a grandeur apsidal plan with high vault ceiling nave and a side aisle as in Western cathedrals with large frontal horseshoe arch windows. The Buddha image, which had become a new worshipping object, was integrated into the stupa and interior surface. First the stupa and then the statue was introduced to residential Viharas. Therefore, I suggest that the vihara should be renamed as 'chaitya' as a worshipping place, by establishing statue rooms without bedrooms at all. The functionally changed vihara is similar in form to a 'rectangular type of chaitya', little known and developed in different routes. A columned inner courtyard gradually becama an offering place, like Hindu mandapa, Buddhist caves ware changed to a kind of Tantric and Hindu temple by means of statue worshipping offering rituals.

• International Journal of Advanced Culture Technology
• /
• 제11권3호
• /
• pp.205-210
• /
• 2023

Stone cave paintings are continuous interactions as independent mediums in places such as text, images and stone cave architecture. Unlike Buddha statues, the narrative of the text always fascinates and guides the viewer to the timeliness of the image, that is, the narrative. In particular, in Buddhist art, Buddha statues are never simple images, and murals are never simple paintings. Before the Tang Dynasty, most unknown artists were artisans, and many artists still worked on murals in temples and palaces, and independent paintings such as scrolls and sides became an important form of painting after the Tang Dynasty, changing the mechanism of painting creation. In this paper, the graphic creation process prioritizes dedication and service, but we can still feel the creativity of the painters strongly. The historical resources of how to paint these paintings, the clues to the copies, and the precursor to the foreground, encourage the painters to constantly try to resemble each other and discover problems...Therefore, in this paper, it was confirmed that reinvention and creativity are very important, and that Dunhuang Buddhist art is the basis for artists' creation and the source of vitality.

• 한국생활과학회지
• /
• 제7권1호
• /
• pp.109-118
• /
• 1998

This study is focused on finding out the differences in wearing robe styles of Buddhist Statues between Shilla and Tien-lung Mountain. (1) Shilla Buddhist Statues are wearing Pyun-Sam that is similar to Jeogori(the traditional jacket of Korea). (2) Bok-Gyen-Uy of Tien-lung Buddhist Statues are roundish shape, and that of Shilla Buddhist Statues are oblique line. It is possible to conclude that these shapes are very concerned with the wearing style of each nation. (3) We can find another difference in the chest sash. Chest sach of Tien-lung Buddhist Statues is more functional, but that of Shilla Buddhist Statues is more decorative. (4) Wearing Kasa, Young-Ja(i,e.string of kasa) is used in Shilla Buddhist Statues, but not in Tien-lung Buddhist Statues. This the most different thing between Shilla Buddhist Statues and Tien-lung Buddhist Statues.

• 자원환경지질
• /
• 제35권5호
• /
• pp.407-420
• /
• 2002

군위 삼존석굴(국보 109호)은 반상 흑운모 화강암으로 구성되고 이들의 훼손은 풍화에 의해 미생물얼룩, 백색피막, 갈색녹, 입상분해, 변색과 절리 등으로 나타나며 풍화의 요인은 주로 빗물, 누출수분, 기온변화, 생물서식 등이다. 이들의 환경인자는 수분이며 이의 공급원은 빗물이고 공급통로는 절리이다 빗물이 화강암 내의 절리를 따라 스며들어 석굴내부로 누출되어 습기를 많게 하며 미생물을 서식케 하고 결빙을 일으킨다. 삼존석굴 주변의 화강암은 북동동과 북서서 절리조를 규칙적으로 발달시키며, 서로 공액관계에 있어 하나의 절리계를 나타낸다. 북동동 절리조가 훨씬 뚜렷하게 나타나고 석굴 주위에서 4개 절리대를 형성하며, 이중에 J$_{m}$ 과 J$_{3}$ 절리대가 누수의 직접적인 원인이 된다 J$_{m}$ 절리대는 석굴 안쪽의 인장절리로 통하며, 이 인장절리는 석굴 상위의 큰 소나무가 J$_{m}$ 절리틈을 벌림으로서 J$_{m}$ and J$_{3}$ 절리대간의 암반이 토플링 효과로 벌어진 단열이다. 이 경로는 매우 길기 때문에 작은 빗물은 석굴내부까지 누출되지는 않겠지만 큰비는 누출을 상당히 오래 지속시킬 것으로 생각된다. J$_{3}$ 절리대는 석굴입구에서의 훼손에 영향을 미치며, 이곳에는 절리와 균열이 매우 많고 경로가 매우 짧기 때문에 10 mm 이내의 작은 비에도 빗물이 쉽게 석굴내부로 스며든다. 결과적으로 J$_{m}$ 과 J$_{3}$ 절리대가 누수의 원인을 제공하는 빗물의 주 유입부인 것으로 판단되고 문화재를 훼손하는데 큰 영향을 미치는 것으로 생각된다.

• 건축역사연구
• /
• 제21권4호
• /
• pp.7-24
• /
• 2012

The Buddhist cave temple carved into the rock provides a large space for the ritual in general in which a structure of Stupa is built in the center of the space purely for religious worship empty of Sarira, and the temple is formed around this Stupa. Relief-Stupa of the cave temple indicates the similar shape that of Relief-religious worship of flat land temple. However, there appears a small difference in representation since the background of formation of the cave temple differs in that of flat land temple. Specially, Caitya Stupa of currently existing cave temples have been damaged to lose of their original shape only possible to be analyzed the stylistic development through Relief-Stupa from which the characteristic of Stupa could be understood. The early cave temple could be characterized with a balanced structure consists of upturn bowl, steeple stone with simple drum & Hamikawasnagae, in which it appears strongly the detail factor characteristics of drum & steeple of having system with Caitya Stupa. In the post cave temple, the subject of worship moved to statue of Buddha due to the influence of Gandhara, Mathura art which reduced the importance of Stupa. This illustrates in Relief-stupa as well the style change as well as changes in detail factor. The sculpture appeared at the limited location either the wall of Caitya shrine or pillar in vihara cave with stronger decorative meaning. Contrast to the Relief Stupa of early flat land temples or the cave temples mentioned above sculptured with symbolism, however, the post cave temple showed the relief structure based on the plan of flat plan.

• 보존과학회지
• /
• 제11권1호
• /
• pp.15-27
• /
• 2002

군위 삼존석굴은 주로 반상 흑운모 화강암으로 구성되며 그 내부가 기계적, 화학적 및 생물적 풍화작용에 의해 훼손되었다. 이 풍화작용의 근본요인은 빗물에 의해 일어나며 이 빗물은 절리를 따라 스며들어 석굴내부로 누수된다. 그러므로 누수를 일으키는 절리를 조사하고 누수 경로를 추적하여 차수대책을 강구하였다. 석굴 주위의 반상 흑운모 화강암은 북동동과 북서서 절리조를 규칙적으로 발달시키며, 그 중에 북동동 절리조가 훨씬 뚜렷하게 나타난다. 북동동 절리조는 4개 절리대를 형성하며 이중에 $J_m$과 $J_3$, 절리대가 누수의 직접적인 원인이 되며 석굴훼손에 큰 영향을 미친다. 석굴 안쪽의 인장절리는 $J_m$ 절리대로 통하며, 이 경로는 작은 빗물이 석굴내부까지 누수되지는 않겠지만 큰비는 누수를 일으키며 상당히 오래 지속될 것으로 생각된다 석굴입구 천장의 절리와 균열들은 $J_m$ 절리대로 연장되며 10mm 이내의 작은 비에도 빗물이 쉽게 석굴내부로 스며든다. 차수대책은 누수부위보다 L: -9m에서 L: +10m까지 범위의 $J_m$ 절리대와, 반경 5m 원 상반부의 J3 절리대의 빗물 유입부를 차단하는 방안이 가장 바람직하다. 처리제는 충진제와 발수경화제를 사용하여 절리와 열극의 틈을 일일이 막아야만 하며, 점도를 높이기 위해 경화제와 속결제를 혼합하여 사용하는 것이 좋다.

• 헤리티지:역사와 과학
• /
• 제33권
• /
• pp.182-208
• /
• 2000

Kwan-gyongdo is a pictorial presentation of a $s{\bar{u}}tra$ that teaches the Buddhist way for a person to be reincarnated in the paradise of $Amit{\bar{a}}bha$ Buddha. It consists of a preface (Kwan-gyong sobun pyonsangdo) and 16 scenes of $S{\bar{a}}kyamuni$ preaching. The preface, a painting illustrating the motivation behind the production of tile kwan-gyongdo, illustrates the "Legend of King $Aj{\bar{a}}tasatru$", a tragic story in which the prince of India's Magadha kingdom murders his father, the king, to usurp the throne. The 16 subsequent scenes show $S{\bar{a}}kyamuni$ teaching the distressed queen how a person can be reborn in paradise through meditation and praying. In the kwan-gyongdo in the Mogao Cave No. 17 in Dunhuang, China, painted during the Tang dynasty (618-907), the preface and the 16 scenes are presented in one painting, whereas they are presented in two paintings in those painted in Korea during the Koryo period (918-1392). The difference is attributed to the stylistic disparity of the two periods. Despite the temporal gap between the Koryo paintings and the Mogao Cave paintings, a comparison of the two can show the characteristic development of kwan-gyongdo. Kwan-gyongdo of the Koryo period do not have the "enmity created in the previous life" scene featuring a heavenly figure and a hare, a result that shows the influence of the Tang school that deleted the scene. The scene of $S{\bar{a}}kyamuni$ preaching on the Mountain of Spirit is included in kwan-gyongdo of both the Koryo period and the Mogao Cave, but the scene of $S{\bar{a}}kyamuni$ emerging from the earth to the Magadha palace is not included in Koryo kwan-gyongdo. Kwan-gyongdo of Koryo are generally a simpler but more faithful rendering of the $s{\bar{u}}tra$.

• 비교문화연구
• /
• 제22권
• /
• pp.151-175
• /
• 2011

In this article, I have analyzed the signification of the death of Don Quijote from the oriental religious and philosophical point of view, comparing with the novels of Kim, DongRi. We are able to read Cervantes' hope for his absolute ideal to be lasting forever via the death of Don Quijote, in the base of a strong will named of Gukyeong's life. In the same time, we can also discovery death as lasting of life in the basis of buddhist idea and death as the unification with nature via the meeting between the living and the dead in the Montesinos Cave. Montesinos Cave symbolizes a unclassified and chaotic space, which the Shamanist can meet the dead with a extatic ceremony and both supernatural life and daily life coexist. Therefore, the symbolic death of Don Quijote in Montesinos Cave is abe to be explained by approaching to absolute freedom named of Hatal, in other words, voluntary and conscious death to escape from the yugo of being. Considering the fact that Kim, Dongri emphasized on the unification of sky, earth and human being, keeping a racial identification in the face of the stream of occidental materialism in the time of Japanese conquest, we can look for the similarity with Cervantes' ideal. Contrary to the religious dogmatic ideal, Cervantes treated to recover the human nature and vitality, transcending the occidental rationalism and religious ideology in the time of Counter-reformation.

• 조형예술학연구
• /
• 제13권1호
• /
• pp.61-86
• /
• 2008

불교와 불교미술은 인도에서 발원하였지만, 그것들은 각 나라에 전파되면서 국제적인 환경을 만들어 냈다. 불교는 각 나라에 일종의 꾸러미의 형식으로 전파되었다. 예를 들면 불경, 불상과 불화의 도상과 양식, 건축과 그 기법, 복잡한 의식, 승려나 여승이 기거하는 사찰에서 건축적 요소와 그 기법들이 함께 소개되었다 불교의 시작은 인도의 아쇼카 왕조시기(reign of King Asoka)로 거슬러 올라가지만, 이후 각 나라의 정치적, 지적, 예술적, 종교적, 사회적, 자연적 환경, 지리적, 지질적 환경에 맞게 전개됐다. 불교미술은 토착화하면서 그 지역민을 닮은 상이 만들어 졌고, 또 지역마다 독특한 특색을 나타내면서 발전하기 시작했다. 스투파(stupa)와 차이챠 홀(chaitya hall)은 수도원의 독특한 분위기를 만들어 내곤 중앙아시아의 대상인들은 인도의 문화가 중국에 전해지는데 공헌했을 뿐만 아니라, 그들이 지나던 교역루트의 자연환경 덕분에 화려한 색채의 벽화들이 제작되고 보존될 수 있었다. 불교와 불교 미술이 중국과 한국, 일본에 전해졌을 때, 불교는 국가 제도와 사회적 조직의 일부가 되었다. 정치적 목적에 의해 거대한 불상들이 산속의 동굴에 만들어 지기도 했다. 중국은 스투파를 사각형의 기둥으로 변형시켰고, 기와를 얹은 지붕 형식의 탑을 만들어 냈다. 한국은 불교미술을 중국에서 일본으로 전파시켰을 뿐만 아니라, 고유한 방식으로 그것을 변형시켰다. 석굴암의 깊은 명상에 잠긴 듯한 보살상들의 이미지가 그 좋은 예이다. 중국에서는 신유교 철학이 국-가의 공식적인 이념이 되면서 선종의 부흥하기도 했으며, 일본의 선승들은 신도들의 명상을 북돋기 위해 선종 형식의 정원을 만들어 냈다. 티벳의 밀교에서도 불교미술의 중요한 발전양상을 확인할 수 있다. 밀교의 미술은 예술적 환경 뿐만 아니라, 지적이고 종교적인 것에도 속한다. 한편 티벳의 신들이 그들의 배우자를 안고 있는 모습은 신과 신자들의 융합을 상징하기도 한다. 불교미술은 독창적인 환경을 만들어 냈고, 여라 나라에 전파되면서, 상당한 변화를 낳았다.