| 근대기 불교조각의 특징과 일본 불상의 유입 |
|
김 연 진 |
|
동아대학교박사과정수료 |
| Modern Buddhist Sculpture and Influx of Japanese Buddhist Sculpture |
|
Yeon-jin Kim |
|
Ph. D. candidate, Dong-a University |
|
Received: 1 June 2019 • Revised: 14 June 2019 • Accepted: 6 August 2019 |
| Abstract |
|
In the years between 1909 and 1950, new material and techniques for Buddhist sculptures were tested while honoring the traditions of Joseon, and a new and modern style evolved. The modern tradition established during this time is important as they greatly influenced the Buddhist sculptures of today. Modern Buddhist sculpture in Korea not only continued the tradition but also introduced new ideas for material and technique. The dating method on the sculptures also varies from the era name of the Great Korean Empire, the Japanese era name, and the Buddhist era, testifying to the transitions in the modern history.
Modern Buddhist sculpture in Korea can be divided into three categories of the traditional style, the retro style, and Japanese style. The first, the traditional style, was made by sculptors who succeeded the monk-sculptors of the late Joseon through educational institutions for Buddhist arts, and made Buddhist paintings alongside sculptures. The second, the retro style sculptures were made after those of the Unified Silla and Goryeo era. Specific features, including the shapes of the crowns, were adapted from the carved or sculpted Buddha statues of Goryeo. This retro style developed as a result of personal preferences, geographical considerations, and popularization of travel, a fact which made the images of traditional Buddhist art more accessible. Lastly, the Japanese style sculptures were mostly small stone Buddha statues inscribed with numbers or names of their patron on the halo. They were mostly produced around the open port area with Japanese businessmen as patrons, and were related to the Japanese practice of pilgrimage. However, the Japanese sculptures did not have a large influence on the Korean sculptures as Japanese residential areas were separated and their esoteric Buddhist iconographies were unfamiliar to most Koreans. |
|
PDF Links
Full text via DOI
Download Citation
