글로벌리즘과 동아시아 불교미술 연구 (The Global Turn and Studies of East Asian Buddhist Art)

서지정보

· 발행기관 : 미술사와 시각문화학회
· 수록지 정보 : 미술사와 시각문화 / 13호 / 8 ~ 37페이지
· 저자명 : 이승혜

초록

동시대 미술의 분석적 틀로 부상한 글로벌리즘(globalism)이 과연 전근대시기 미술에도 새로운 연구시각을 제시할 수 있을까? 이 글은 최근 활발히 거론되는 글로벌리즘 혹은 새로운 ‘세계미술사(global arthistory)’ 논의가 동아시아 불교미술 연구에 어떻게 기여할 수 있을지 모색한다. 글로벌리즘과 함께 대두한 문화교류와 습합에 대한 새로운 논의를 소개하고, 그 성과와 한계를 비판적으로 살펴본다. 이와 같은 논의가 전통적인 불교미술 연구의 주요한 분석모델인 전파론과 교섭사에 어떤 영감을 줄 수 있을지 타진한다.

영어초록

The term ‘globalism’ or ‘global art history’ have been featured in titles of numerous books published, conferences held, or research projects conducted all over the globe in recent years. How has globalism affected the ways in which art historians perceive and rewrite art history’s largely Eurocentric framework? Could globalism, the product of the contemporary world, provide new perspectives on the product of distant past such as traditional East Asian Buddhist art without a ‘presentist’ bias? How do questions raised under the rubric of globalism differ from ones examined in traditional studies of East Asian Buddhist art? How might a concept like interregional or cross-cultural exchange take the place of the nation-state or the global as an analytical framework? This article maps out recent art historical discussions on globalism and examines their implications for studies of ancient and medieval East Asian Buddhist art. My discussion reveals that a global perspective has illuminated ‘hybrid’ art objects largely neglected in conventional art historical scholarship and rekindled interest in cross-cultural interaction that transcends geographical and political boundaries. Although many studies have thoroughly examined the issue of acculturation in East Asian Buddhist art, most of them trace movement of art objects, visual forms, or iconographical motifs through a linear perspective that more often than not flattens dynamics of cross-cultural exchange. However, recent studies propose to turn our attention from the interaction of visual forms to that of the ideas such as Buddhism and Catholicism or that of practices in Pierre Bourdieu’s sense of the term.
The last section of my article proposes a new perspective, informed by recent scholarship on global art and cultural exchange, on the practiceof enshrining relics and other sacred items within the inner recesses of Chinese Buddhist statues. It is often said that relics were enshrined in order to transform otherwise inert, material image of the Buddha into a living Buddha. However, examination of how the Gandharan practice of inserting a relic or jewel in a hole in the us·n·ı¯s·a of a Buddhist image changed in medieval China reveals that conceptions of the iconic body changed in accordance with local conditions. I trace out larger trajectories of the two modes of placing objectsinside Chinese images with a focus on the Seiryo¯ji Buddha image, made in Taizhou in 985. I suggest that the combined deposit of relics inside the head and mock organs within the torso of the Seiryo¯ji Buddha image was deeply rooted in the heightened awareness of corporeality—a cultural phenomenon that had appeared from the eighth century and that is clearly shown in the flesh-body icons of Chan masters.

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