조선후반기 제2·3기(18·19세기:영·정조-순조·순종기) 불상조각의 도상해석학적 연구

Abstract

As a result of an iconological analysis of Buddhist sculptures in the second and third stages of the late Joseon period, the following characteristics have been found out. Speaking of the backgrounds of the creation of Buddhist sculptures, the second stage, the days of Kings Yeongjo and Jeongjo, was a stage of maturity, and the third stage, the daysof Kings Sunjo and Sunjong was a stage of both declination and new transition of Joseon’s Buddhist culture. The iconographic forms in the second and third stages can be divided into the forms of one Buddha, three Buddha, and multiple figures. The sculpting activities were continued in a certain degree in the second stage, while there were not many cases left due to the slowdown in sculpting activities in the third stage. As for changes in mode among Buddhist sculptures, a certain amount of changes appearedin the second stage with succession of the mode of the first stage, while the increasing trend included the square upper body, shrinking shape, narrowness between knees, and high knees. The monk sculptors in the second stage, successors of those in the first stage, inherited the mode of the first stage, and some of them were also monk painters. The striking trend in the third stage included monk painters’ rather than monk sculptors’initiatives in stone Buddhist figures and small Buddhist figures.