조선전반기 불상 조각의 도상해석학적 연구

Abstract

This study conducted iconological analysis of sculptures in the early Chosun Dynasty, and obtained results as follows. First, with regard to the background for creating sculptures in the early Chosun Dynasty, early Chosun was a transitional period from Buddhism to Confucianism when the government promoted policies for suppressing Buddhism and advocating Confucianism. In this situation, Buddhism and Buddhist art repeated rise and fall under the sponsorship of women from the royal family and aristocratic families as well as the king’s support during the late period of King Sejong and the reigns of King Sejo and Myeongjong. Second, Buddhist sculptures in the early Chosun Dynasty were divided into Buddha statues and bodhisattva statues, and Buddha statues were subdivided according to style into solo, triad, three periods Buddha trinity․three periods Buddha, group images, etc. Third, the iconological meanings of sculptures and the development of style were discussed for two periods, one during the reign of King Taejo and King Seongjong (15th century) and the other during the reign of King Jungjong and King Seonjo (16th century). Fourth, the development and meanings of monk sculptor schools during the early Chosun Dynasty were discussed. Buddhist sculptors were largely divided into governmental sculptors and monk sculptors. Governmental sculptors appear in records from early days, but monk sculptors begin to appear from 1448. It is believed that monk sculptors might organize and maintain schools earlier, but clear evidence for such activities is seen from just after the war with Japan in 1592. At that time, the Seokjun‐Wono School and the Gwangwon School were organized and they, together with Buddhist painters, were continued long until the late Chosun Dynasty through the repetition of rise and fall.