조선 전기 공의왕대비 발원 불교자수의 조성 배경과 조형적 특성 (The Background and Formative Characteristics of the Buddhist Embroidery Created under the Patronage of Queen Dowager Gongui in the Early Joseon Dynasty)

서지정보

· 발행기관 : 한국의류학회
· 수록지 정보 : 한국의류학회지 / 49권 / 2호 / 405 ~ 418페이지
· 저자명 : 안보연, 김지연

초록

This study examines the background and formative characteristics of the Buddhist embroidery created under the patronage of Queen Dowager Gongui in the form of Kāṣāya and housed in the National Folk Museum of Korea. A production date of 1552 inscribed on the back of the artifact makes it the earliest surviving embroidered Kāṣāya in Korea. Crafted with multicolored silk threads, gold thread embroidery, and satin fabric, the Kāṣāya holds significant value for the study of Buddhist art and the history of garments. Despite the early Joseon Dynasty's policy of promoting Confucianism while suppressing Buddhism, Queen Dowager Gongui commissioned this Kāṣāya to pray for the rebirth of the late King Injong in the Pure Land. This study highlights the close association between the Kāṣāya’s creation and Amitābha belief. A comparative analysis with other Buddhist embroidered artifacts from East Asia established that the four seasons flower motif depicted in the embroidery symbolizes the Pure Land of Amitābha. Furthermore, a direct examination of the artifact's formative characteristics and historical records and artifacts from similar periods revealed the uniqueness and historical significance of the Kāṣāya.

영어초록

This study examines the background and formative characteristics of the Buddhist embroidery created under the patronage of Queen Dowager Gongui in the form of Kāṣāya and housed in the National Folk Museum of Korea. A production date of 1552 inscribed on the back of the artifact makes it the earliest surviving embroidered Kāṣāya in Korea. Crafted with multicolored silk threads, gold thread embroidery, and satin fabric, the Kāṣāya holds significant value for the study of Buddhist art and the history of garments. Despite the early Joseon Dynasty's policy of promoting Confucianism while suppressing Buddhism, Queen Dowager Gongui commissioned this Kāṣāya to pray for the rebirth of the late King Injong in the Pure Land. This study highlights the close association between the Kāṣāya’s creation and Amitābha belief. A comparative analysis with other Buddhist embroidered artifacts from East Asia established that the four seasons flower motif depicted in the embroidery symbolizes the Pure Land of Amitābha. Furthermore, a direct examination of the artifact's formative characteristics and historical records and artifacts from similar periods revealed the uniqueness and historical significance of the Kāṣāya.

참고자료

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