高麗時代 天王文銙帶 硏究 (A Study on Gilt Bronze Belt Ornaments with a Buddhist Heavenly King Motif in Goryeo dynasty)

서지정보

· 발행기관 : 국립중앙박물관
· 수록지 정보 : 미술자료 / 85호 / 45 ~ 78페이지
· 저자명 : 주경미

초록

In this article, I surveyed five sets of gilt bronze belt ornaments with a Buddhist Heavenly King Motif in Goryeo dynasty. In Goryeo dynasty, gilt bronze belt ornaments were only used by the governmental officials in the governmental costume system and regarded as prestige goods for male elites. These belt ornaments with Buddhist iconography are very important to understand the buddhist art and cultures of Goryeo elite class. But these long forgotten cultural artifacts have never been researched before in Korean art history because most of them remained in very fragmental and disrupted states. I researched the techniques and iconography of these ornaments in the National Museum of Korea and other important museums with a perspective of an art historian.
These gilt bronze belt ornaments with a Buddhist Heavenly King motif were made in the same technical methods as the Buddhist relic caskets in the Unified Silla and Goryeo periods.
The main rectangle panel was made of thin metal sheets with soldering and chasing techniques.Next three to nine small gilt bronze human resembling images were separately made one by one with lost wax casting techniques. After these small images were detached with each mortise joint onto the main panel, each main panel with image came to be completed as a small rectangle belt ornament with a Buddhist artistic scene for detaching on a long leather or silk belt. The main image of these belt ornaments was always sitting on the rock in relaxing Lalitasana posture, holding an object such as a musical instrument or a round ball in his hand. He puts on his armours and a high crown on his head. His attendants were standing or walking along eachside of the main deity. Such group of an armoured sitting king and his attendants usually identified as the Buddhist Lokapalas in Chinese Buddhist paintings from the tenth to the fourteenth century. Thus the main deity of these belt ornaments might be one of those many Buddhist heavenly kings.
However, I think the iconography of Goryeo belt ornaments can be a representation of any Buddhist heavenly king, not confined to Lokapalas. In Goryeo buddhism, worships for the other Buddhist heavenly kings like Vaisravana or Indra were more popular and important than the worship for Lokapalas. These worships for many heavenly kings were related with the Buddhism for national protection in Goryeo society, and might have influenced the new Buddhist iconographic formation of the belt ornaments for governmental martial officials.

영어초록

In this article, I surveyed five sets of gilt bronze belt ornaments with a Buddhist Heavenly King Motif in Goryeo dynasty. In Goryeo dynasty, gilt bronze belt ornaments were only used by the governmental officials in the governmental costume system and regarded as prestige goods for male elites. These belt ornaments with Buddhist iconography are very important to understand the buddhist art and cultures of Goryeo elite class. But these long forgotten cultural artifacts have never been researched before in Korean art history because most of them remained in very fragmental and disrupted states. I researched the techniques and iconography of these ornaments in the National Museum of Korea and other important museums with a perspective of an art historian.
These gilt bronze belt ornaments with a Buddhist Heavenly King motif were made in the same technical methods as the Buddhist relic caskets in the Unified Silla and Goryeo periods.
The main rectangle panel was made of thin metal sheets with soldering and chasing techniques.Next three to nine small gilt bronze human resembling images were separately made one by one with lost wax casting techniques. After these small images were detached with each mortise joint onto the main panel, each main panel with image came to be completed as a small rectangle belt ornament with a Buddhist artistic scene for detaching on a long leather or silk belt. The main image of these belt ornaments was always sitting on the rock in relaxing Lalitasana posture, holding an object such as a musical instrument or a round ball in his hand. He puts on his armours and a high crown on his head. His attendants were standing or walking along eachside of the main deity. Such group of an armoured sitting king and his attendants usually identified as the Buddhist Lokapalas in Chinese Buddhist paintings from the tenth to the fourteenth century. Thus the main deity of these belt ornaments might be one of those many Buddhist heavenly kings.
However, I think the iconography of Goryeo belt ornaments can be a representation of any Buddhist heavenly king, not confined to Lokapalas. In Goryeo buddhism, worships for the other Buddhist heavenly kings like Vaisravana or Indra were more popular and important than the worship for Lokapalas. These worships for many heavenly kings were related with the Buddhism for national protection in Goryeo society, and might have influenced the new Buddhist iconographic formation of the belt ornaments for governmental martial officials.

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