• 건축역사연구
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• 제19권4호
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• pp.109-123
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• 2010

The main functions of a Buddhist temples are as a place for Buddhist services and a place for sermons and each ancient Buddhist temple was equipped with a main and separate building. After Zen Buddhism was first introduced, there was a tendency to change the terms to Buddhist sanctuary and altar, as set forth in the Zen Buddhism code of conduct called 'Cheonggyu(淸規)'. As such, it was thought that the division between Buddhist service space and preaching space were relatively firm until the Goryeo Dynasty. However in the period from the end of the Goryeo to the beginning of the Joseon Dynasty there was an increasing tendency of integration of the two buildings. It can be seen that, in cases where both buildings remained, statues of Buddha were enshrined in these buildings without any distinction. Eventually it is led to the tradition of duo-Buddhist sanctums.

• 미술자료
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• 제101권
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• pp.48-65
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• 2022

경상북도 김천 대휴사(大休寺)의 일본 불교 존상은 일제강점기가 시작되는 1910년경에 일본 신의진언종지산파(新義眞言宗智山派)가 대구에 설치한 별원(別院), 즉 대구 편조원(遍照院) 본당에 봉안하기 위해 조성되었다. 이들 존상 중 목조홍법대사좌상(木造弘法大師坐像)은 일본 진언종을 개창한 고보다이시 쿠카이(弘法大師 空海, 774-835)의 모습이며, 목조대일여래좌상(木造大日如來坐像)과 목조부동명왕좌상(木造不動明王坐像)은 진언종의 불교 사상과 신앙을 대표하는 존상이다. 지금까지 알려진 일제강점기에 조성된 대일여래상, 홍법대사상, 부동명왕상은 대부분 마애상이나 석조상으로, 대휴사의 존상들은 당시 일본 사찰에 봉안된 나무로 만든 일본 불교 존상이라는 점에서 매우 주목된다. 이들 불교 존상은 조형적으로는 근대적인 미감을 갖추고 있지만, 그 도상적인 연원은 헤이안(平安)시대(794-1185)까지 거슬러 올라간다. 즉 대일여래상은 신의진언종을 개창한 고교다이시 가쿠반(興敎大師 覺鑁, 1095-1143)이 만든 대일여래상의 신앙적인 전통을 계승하고 있으며, 홍법대사상은 고보다이시 쿠카이의 제자였던 신뇨신노(眞如親王)가 그린 신뇨신노 스타일[樣]을 따르고 있고, 부동명왕상은 겐죠(玄祖) 스타일의 십구관(十九觀) 부동명왕상을 답습하고 있다. 일제강점기 대구 편조원에 봉안되었던 당시의 모습은 구체적으로 알 수가 없지만, 이들 존상은 신의진언종의 삼륜신상(三輪身像)으로 조성되었을 가능성이 매우 높다. 즉 대일여래상, 홍법대사상, 부동명왕상이 각각 자성륜신(自性輪身), 정법륜신(正法輪身), 교령륜신(敎令輪身)의 성격을 지녔을 것으로 추정된다. 한편 1950년대 전반의 실달사(悉達寺)(대구 편조원의 후신)의 상황이긴 하지만, 그 전신인 일제강점기의 대구 편조원에서 고보다이시 신앙의 전통이 계승되고 있었음을 추측하게 하는 본당 내부의 모습도 확인할 수 있다. 즉 실달사 본당에 놓여 있던 유골들은 11세기 이후 고보다이시 신앙과 함께 유행했던 고야산(高野山)의 납골(納骨) 신앙의 전통을 보여 준다.

• 복식
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• 제64권5호
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• pp.141-153
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• 2014

Buddhist articles from various periods in the Vairochana Buddha statues, which are currently housed in the Haeinsa Temple's Supreme Buddha Hall and Beopbojeon Hall. This research concentrates on the artifacts found inside the storage boxes, which was placed inside the Buddha statues in 1490. A total of 24 pieces of fabric articles found inside the Virochana Buddha in Beopbojeon and 213 pieces from the Supreme Buddha Hall were examined. The types of textiles are as follows: bast fiber, silk, cotton, and union cloth. Bast fiber consisted of ramie and hemp. For silk, tabby woven with plain weave, spun silk, and thin tabby were found. And twill damask made with twill, Sa and Ra with the leno weave, and satin damask made with the satin weave were also found. Also the two Jeogoris and three Jogakbos were found, the one Jeogori was made with Hwan. The Buddhist articles in the Vairochana Buddha of Haeinsa have been preserved well and its colors have remained virtually the same from the time of its original placement. Therefore these articles are very important in understanding the textile characteristics, weaving techniques, dying techniques as well as traditional colors.

• 복식
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• 제62권5호
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• pp.16-30
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• 2012

This study examines the types and features of formal ritual hats for Tibetan Buddhist priests. Findings of the study are as follows. The types of formal hats that Tibetan Buddhist priests wear during religious rites or rituals include: u rgyan pad zhwa, pan zhwa, tshogs zhwa, rigs inga, zhwa nag, zhwa dmar and dwags zhwa. The reason why such formal ritual hats as listed above were developed is because the region had an alpine climate, and also because they were the symbolism of Buddhism, the most reverent priest, and reincarnated Buddha thoughts. They were an essential part of the culture of dressing Buddhist statues and offering utensils. Formal ritual hats' shapes originate from lotus. They are colored in red, yellow, indigo, green, white or black, that reflect the nationality and aesthetics of Tibetans. They are mainly made of woolen or silk fabrics. They are usually decorated with gold, git bronze or jewels and the patterns of the sun and the moon, vajra or clouds.

• Acta Via Serica
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• 제4권2호
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• pp.61-77
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• 2019

Following the introduction of Buddhism to China by Xuanzang (玄奘 602-664), the visual tradition of an itinerant monk became a popular subject. This theme developed into a Buddhist figure with an accompanying tiger, especially in Korea where tigers were an object of worship and ritual. This paper examines Korean examples of post-itinerant monk Buddhist figures accompanied by tigers, in particular the portrayal of itinerant monks as arhats and sansins. The supernatural powers of arhats were diverse, and they often tamed the tigers who then accompanied them on their journeys. The arhat, who was introduced during the Unified Silla period and gained popularity during the Goryeo period, was loved by the general public during the Joseon Dynasty as a familiar presence that brought good fortune. Special portraits of monks accompanied by a tiger, known as sansindo (山神圖), form a unique Korean genre. Sansin religious beliefs formed through a fusion of the newly introduced Buddhism and the age-old indigenous worship of sacred mountains and tigers. Most Buddhist temples include a sansin shrine containing on altar with sansin statues and portraits. Tigers in the portraits of itinerant monks and the stories of Buddhist monks who tamed tigers became famous and widely accepted in Korea, a nation already rich in tiger lore. Folklore and indigenous shamanism contributed to the establishment of Buddhism in Korea, and tigers played a central role in this.

• 헤리티지:역사와 과학
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• 제54권3호
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• pp.242-261
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• 2021

상정(尙淨)은 18세기 중·후반에 활동한 조각승으로, 지금까지 알려진 수조각승 상정의 조상 활동 6건과 그가 조성한 기년 불상 중 마지막 작품으로 발견된 1767년 거창 송계사 <목조여래좌상>을 토대로 상정 불상의 전체적인 작풍을 설정하였다. 상정이 조성한 불상의 공통점은 귀의 생김새, 상·하반신 옷주름, 오른손이 놓인 위치, 하반신 표현 등에 나타나 있었다. 그 중 하반신 표현은 불상 하단에 표현된 연잎 사이로 하반신 옷주름이 흘러내리는 A유형, 연잎과 대좌 표현 없이 하반신에 'S'자형 옷주름만 형성된 B유형, 불신과 대좌를 일체형으로 조성하여 대좌에 표현된 연잎 사이로 하반신 옷주름이 흘러내리는 C유형 등 세 가지 유형으로 구분되는 양상을 확인할 수 있었다. 상정은 그가 유일하게 조각 수업을 받았던 스승 태원(泰元)의 작풍을 충실히 계승하였을 것으로 판단되었다. 이는 서울 봉은사 <목조석가여래삼존좌상 및 나한상> 조성 불사에서 수조각승 태원 아래에서 상정이 3위 조각승(3/12위)으로 참여한 기록과 봉은사 석가상에서 표현된 'S'자형 하반신 옷주름이 상정이 조성한 모든 불·보살상에 반영된 모습을 통해 확인할 수 있었다. 뿐만 아니라 상현좌 표현, 보발의 형상 또한 18세기 전반 조각승 진열(進悅)에서 태원을 거쳐 상정에게로 이어졌던 것으로 추정되었다. 상정과 태원 두 조각승의 작풍은 불상에서 나타나는 양감과 측면의 두께, 하반신 옷주름의 요철 강도, 오른쪽 가슴의 옷자락 형태, 귀의 세부적인 표현 등에서 차이점이 발견되었다. 이와 같은 과정을 통해 조각가 개인의 양식을 추출하였고, 상정의 작풍을 갖고 있는 불·보살상 10건 14점에 대해 상정 또는 태원(계) 등 원 조각가를 분류하는 작업을 시도하였다.

• 대한가정학회지
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• 제33권5호
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• pp.211-219
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• 1995

In this study of the Buddhist Stone Statues in Namsan in Kyungju. We have found out interesting facts as follow. This study is focused on the way the Buddhist Statues wear the robes. There are two basical types of wearing ; Tongkyun and Pyundanwookyun. In Silla, these types of wearing has been developed into its unique types based on the traditional culture. The stone Buddhist images show seven types of wearing based on the standard ones of Tongkyun and Pyundanwookyun. This variety in wearing rests on the various of Sungkari(Samghathi) and Bokgyenui(Samkaksika) and a chest sash which fixes Niwonsung(Nivasana). There are three cases inferred from the seven types of wearing the Buddha's robes : (1)Tonkyun type A: The only outer wear Sungkari(Samghathi) was put on as Tongkyun type. We can't find out any Bokgyenui(Samkaksika) or the chest sash of Niwonsung(Nivasana). (2)Tongkyun type B: Bokgyenui(Samkaksika) is put on the chest of Statue in Sungkari(Samghathi). (3)Tongkyun type C: This type is similar to Tonkyun type A, except that the end of the robe dangled down straight to the right side. (4)Tongkyun type D: Bokgyenui(Samkaksika) is bound with a chest sash. (5)Tongkyun type C: The robe is tied on the left shoulder as a cord and Bokgyenui(Samkaksika) is bound with a chest sash. (6)Pyundanwookyun type A: The robe dangled down from the left shoulder to the right armpit diagonally, so left shoulder is naked. (7)Pyundanwookyun type B: This type is similiar to Pyundanwookyun type A, but the end of Sungkari(Samghathi) is bound up to the left shoulder again. Considering above, the robe types of Buddha seem to have something to do with those of the Silla people: The chest sash is similar to the adjustment of Jeogori(the traditional jacket) of the Silla, and the typing cord in Buddha's robe corresponds to that of the traditional types.

• 복식
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• 제36권
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• pp.53-75
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• 1998

The kind, the structure, and the motif of the Chosun dynasty's fabrics found mainfy within the Buddhist statues were studied. The total of 62 pieces of fabrice can be classified chronologically as follows ; 27 pieces in the year of 1431, 20 pieces of 1550, 9 pieces of 1664, and 6 pieces of 1735. These 62 fabrics also categorized by the weaving method as follows; 27 plain weaved, 17 twill weaved, 10 pieces of satine weaved, 7 pieces of Leno weaved, and 1 piece of double weaved fabrics. Most of the studied fabrics were silk, the rest were 2 pieces of yam and 1 piece of cotton, Kyun, Chu, and Cho were the plain weaved silk as Nung and Ki were the twill weaved silk, Satine weaved silk was called as Dan and double weaved silk was called Chikum in the Chosun dynasty. 1. The antique fabrics were composed of mainly silk. This is believed due to the utmost devotion to the buddhist statue as an object of worship. 2. In the fabric's structural point of view, th ecrossed 4-ply threads of warp yarn which is one of Leno weaved can be observed fre-quently in the period of Korea dynasty's fabrics. But it started to disappear in the beginning of Chosun dynasty, since only one piece of Ra could be found in the 1431's fabrics. Keum, one of the double weaved structure is assumed to be extinct from the Korea dynasty. Satin weaved fabrics started to be woven from the latter period of Korea dynasty and was very popular in Chosun dynasty. 3. The widths of fabrics in the Chosun dynasty gradually decreased compared with those of Korea dynasty.

• Acta Via Serica
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• 제9권1호
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• pp.91-138
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• 2024

This survey explores artifacts like steles, metal or stone statues, metal foils, and coins, bearing inscriptions in the Sanskrit language and Siddhamātṛkā (or "Siddham"), Nāgarī, and Proto-Bengali/Gauḍī scripts produced in Java between the 8th and 13th century CE, contextualizing them against the background of the pan-Asian networks of Tantric Buddhism or Mahāyāna Buddhist Tantra and especially its circulation along the maritime "Silk Routes." Discussing the interrelationship between languages, scripts, religions, and politics in Java and relevant regions of the wider Buddhist world, it tries to answer questions concerning foreign or local agency and audience as well as transregional connectivity. In particular, it argues that the quick spread of varieties of Mahāyāna/Mantrayāna Buddhism from the Subcontinent to Java and East Asia during a "first wave" from the 8th to the 9th century appears to have occurred in parallel with the diffusion of Siddhamātṛkā script in those locales, whereas a "second wave" of Tantric Buddhism linking the Indo-Tibetan and East Asian Buddhist world is associated with Nāgarī and Proto-Bengali/Gauḍī script in East Java.

• 한국가구학회지
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• 제20권6호
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• pp.605-611
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• 2009

This paper reports the application of radiocarbon wiggle matching for Korean wooden artifacts such as furniture and Buddhist statues for precise dating. Ten biannual samples of 20 years (AD 1249-1268) for AMS (accelerator mass spectrometry) radiocarbon measurements were prepared from a board of the pedestal for Buddhist statue at Jeongsusa (temple) in Kangwhado, Korea, which was dendrochronologically dated. The average 95.4% confidence interval of radiocarbon dating without wiggle matching was 123 year. When wiggle matching technique was applied, it became 37 year, 3.3 times smaller than that without wiggle matching. The results indicated that wiggle matching technique using the calibration curve for northern hemisphere (IntCal04: International radiocarbon calibration curve announced in 2004) can produce precise dates for Korean wooden artifacts which possess as much as 20 tree rings.