DAU Library

학위논문 동서

三國. 統一新羅時代 金銅佛傷 架裟考

백낙효

부산 : 東亞大學校 1982.

97p: 삽도 ; 26cm.

영문초록 : The sculpture of Buddhist Statues of our racial important cultural inheritance has considerably long been turend away from deep attraction of so many people's care for their complete understanding and close observing its artistic beauty. The revival of our cultural inheritance property handed down by our ancesters is not only all Buddhists concerns but also all the other people's interest in order to revive ancient artistic importance into present situation of our daily life. The purpose of this study is to give a close observation and find out an internalized spirit world and understand plastic beauty expressed in apperance and then, stepping forward rediscover characteristics of Korean ancient beauty and to the full contribute to its development from the stand-point that our ancient Buddhist statues which may be called the essence of Buddhist art are one of our most valuable ancient fine arts. The scope of this study is confined to deal with kasaya and pattansuka of Gold-bronze Buddhist statues which are regarded as national treasure and the like with the cleare-cut shape of kasays among the sculptures of Buddhist statues in the period of three separated kingdoms and unified Sylla Dynasty. To begin with the clear explanation of the history of Kasaya and its contents, in addition to this, the interpretation of Gold-bronze Buddhist statues by inserting pictures is annexed. At the result of sincere consideration about characteristics of their mode and plastic beauty with Tathegata's kasaya, Bodhisattva's pattansuka, and Banga-sayu Image's clothing, the conclusions as follows can be drawn out. 1. The mode of Buddhist statues, kasaya in Gogury Dynasty was so much influenced by the Northern Royal court in ancient China that she could created a powerful and nonobjective plastic beauty. The hem of kasaya projected in a few wrinkles like pectoral fines on both sides of Buddhist Body adds pure beauty to carved structure of the human body. The way of wearing kasaya is to pass over shoulder lightly and flowing line is seemingly formed like the letter "V". 2. Baekjae Buddhist kasaya creates the unique and luxurious plastic beauty under the influence of Goguryo Dynasty and the Southern Royal court in old China. Rear the end of Baekjae period a fin-like way of decoration and X-like shape of pattansuka had gradually been fading away instead, an attempt to show free lines of curve and belts with beads and Gem was replaced. 3. Buddhist kasaya in old Sylla Dynasty had two kinds of aspects among which maitreya is specially worth being no ticed Both lightly covering gown over shoulder and hanging gown only over one side of the left shoulder coexist with pattansuka ov X-like form and U-like form. 4. The kasaya of Buddhist statues in unified sylla Dynasty has a change of its position on from lightly covering gown over the shoulder to lightly hanging gown only one side of the left shoulder. Samkaksika has already disappeaved itself. Free Forming of puckering in U-letter shape and V-letter shape appears. The collor of the gown around the neck is inside out at hte lower part and Udyana style pukering with elastic muscle revealling itself and letting the waist expressed in a slender way and Bodhi-Sattv Sattvas kasaya represents the highest reach of art in perfection of realistic technique with X-letter shape perfectly faded away, on the contrary with free-formed curve line flying against the wind and the sensuous expression of human body in tree-curved attitude plastic beauty which can be found out in the kasaya of such Buddhish gold-bronze statues was at a standstill in development through Goryo Dynasty period finally degraded to be lost its intrinsical plastic beauty of previous period.

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