統一新羅 佛敎彫刻과 唐代 畵風: 甘山寺 阿彌陀佛立像과 彌勒菩薩立像을 中心으로
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서지정보
ㆍ발행기관 : 한국미술연구소
ㆍ수록지정보 : 美術史論壇 / 38권
ㆍ저자명 : 소현숙
ㆍ저자명 : 소현숙
영어 초록
The standing sculptures of Amitabha Buddha and Maitreya Bodhisattva from Kamsansa were constructed in 719 A.D. by a sixth ranking aristocrat, Kim Jeesung(金志誠), from the Unified Silla Dynasty. The images display strong foreign influence as well as new motifs and characteristic forms that differ from those generally found in eighth century Tang Buddhist sculptures and other Silla Buddhist sculptures. This thesis examines the appearance of these characteristics, situating its discussion in with appropriate background to the art history of the era.The Amitabha Buddha displays an entire draped body in relief form, which is a characteristic in the sculptures of Central Asia. It is difficult to find the same style of drapery in seventh to eighth century East Asian Buddhist sculptures. After the eighth century, drapery had been simplified and Sinicized. However, the Kamsansa Amitabha Buddha preserved the drapery of Central Asia, before Sinicization. From its shoulder decoration, the extended cloth, the large knot in the scarf upon the chest(絡腋) and the U-shaped fold in the lower scarf of the Maitreya Bodhisattva from Kamsansa, the elements of style all originated from Central Asia. These motifs and forms rarely appear in Buddhist sculptures of East Asia in the period contemporary to the construction of the statue, though they were popularized in the wall painting of Dunhuang Mogao Grottoes from the latter part of the eighth century.
The Central Asian characteristics of the two images from Kamsansa are an example of how, from middle seventh to early eighth century in China, the style that originated in Central Asia prevailed. One artist who is representative of the style of the Central Asia is Yu-ch'ih I-seng(尉遲乙僧), who came from the Khotan area. Following his death and a program of Sinicization, the Yu-ch'ih Iseng School rapidly declined, so sculptures that exhibiting Central Asian style are harder to find in the period after his death. Thus, the two images from Kamsansa are important works that show the concrete features of Yu-ch'ih Iseng School in the Tang Dynasty.
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