불상의 귀 표현으로 본 조선 후기 조각승의 계보별 특징 (The Charateristics Shape of Buddha Statues’ Ear by Monk Sculptor Schools in the Late Joseon Dynasty)

서지정보

· 발행기관 : 미술사연구회
· 수록지 정보 : 미술사연구 / 38호 / 133 ~ 158페이지
· 저자명 : 조태건

초록

Since the 17th century, Buddhist statues have been newly created in temples across the country, leading to the emergence of a group of monks specialized in the creation of the statues. Among them, outstanding monks became the heads of monk sculptorÊs schools and left statues of Buddha in many Buddhist temples across the country. The figures of the monksÊ artisans, which had been forgotten for some time, were revealed through a full-scale survey of cultural heritage owned by Buddhist temples across the country, which began in the 2000s. In particular, the research on the votive documents of the Buddha statue and the Buddha statues, have been accumulated, and the appearance of the BuddhaÊs face alone has allowed us to gauge the timing of the statueÊs production and the monk sculptor name.
This article is intended to analyze the subconscious formative sense, possessed by the monk sculptorÊs school. To this end, we looked at the characteristics of each monk sculptor schools, focusing on the shape of the Buddha statues ear, which was formed by major sculptor schools who was active in the late Joseon Dynasty. As a result, each monk sculptor school was found to have created a distinct BuddhaÊs ear. The reason for this is that unlike faces that can reflect the monk sculptorÊs individuality, only the shape of the ear was followed exactly the way they first learned during their training. Therefore, the ear expression of the Buddha statue is like a fingerprint indicating the characteristics of the Buddhist monkÊs school style, and it can be used for various purposes such as estimating the production date of the statue and verifying the authenticity between the Buddha statue and the votive documents.

영어초록

Since the 17th century, Buddhist statues have been newly created in temples across the country, leading to the emergence of a group of monks specialized in the creation of the statues. Among them, outstanding monks became the heads of monk sculptorÊs schools and left statues of Buddha in many Buddhist temples across the country. The figures of the monksÊ artisans, which had been forgotten for some time, were revealed through a full-scale survey of cultural heritage owned by Buddhist temples across the country, which began in the 2000s. In particular, the research on the votive documents of the Buddha statue and the Buddha statues, have been accumulated, and the appearance of the BuddhaÊs face alone has allowed us to gauge the timing of the statueÊs production and the monk sculptor name.
This article is intended to analyze the subconscious formative sense, possessed by the monk sculptorÊs school. To this end, we looked at the characteristics of each monk sculptor schools, focusing on the shape of the Buddha statues ear, which was formed by major sculptor schools who was active in the late Joseon Dynasty. As a result, each monk sculptor school was found to have created a distinct BuddhaÊs ear. The reason for this is that unlike faces that can reflect the monk sculptorÊs individuality, only the shape of the ear was followed exactly the way they first learned during their training. Therefore, the ear expression of the Buddha statue is like a fingerprint indicating the characteristics of the Buddhist monkÊs school style, and it can be used for various purposes such as estimating the production date of the statue and verifying the authenticity between the Buddha statue and the votive documents.

참고자료

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