新羅下代 塔碑 硏究

Abstract

A Tapbi is sort of stone monument which is erected after the death of a Buddhist priest with one's record of achievements. A Tapbi manufactured in Korea has been maintained the tradition from the late Silla period when it came in earnest to Goryeo, Joseon, and the present time. The Tapbi of late Silla period has been erected with excellent form at the early stage inherited from the former tradition of erecting stone monument, and developed into one's own form thereafter. Even though the basic form, a turtle base with the placement of an engraved dragon on the top of a stele, has been appeared from unified Silla, none of them are remained as a complete form. On the other hand, most of the Tapbi manufactured in late Silla period are remained. The Tapbi in the latter half of the 9th century, which has remained at a great portion of works, with an inscription of the absolute manufacture dates is highly worth as a standard work in the study of art history. In addition, the features of the Zen Buddhist art of late Silla period are well reflected on the Tapbi as well as on the stupa of a Buddhist priest. According to the record, a Tapbi has erected along with a stupa during Southern and Northern Dynasties in China. Like late Silla period, however, the formation of particular formality which Emperor grants one's posthumous and stupa name, and constructs monument has started to appear after 8th century when Zen Buddhism becomes popular. During this time, the erection of a monument and a stupa for Zen Buddhist priests are extremely formed. This phenomenon is the results of the spread of Zen Buddhism that lays emphasis on receiving the mantle, and this is introduced to late Silla period by Buddhist priests who studied in Tang, China. The details of receiving the mantle from a master are importantly recorded on the Tapbi of late Silla period, and the disciples elaborately erect stupa and monuments considering the founder of a religious sect as the Buddha. The function of a Tapbi seems to become stronger since it is placed in the separate palace at that time. Beginning with the monument of Sinhang Zen master in 813 years, eleven Tapbis have been handed down to the present time. The Tapbi of late Silla period can be generally divided into two formations. One is the formation of turtle base with semicircular ornamental capstone, and the other is dragon-head turtle base with wide-square ornamental capstone which is the mainstream form. From the comparison of the former formation with the one of Tang dynasty, the difference can be found in points of all of them are consisted with turtle bases, and the widths of turtle base and ornamental capstone are wider than stele body. From the comparison of the latter formation, the difference can be found in points of the head of turtle base becomes a dragon, the ornamentation is applied on the base with higher elevation, the ornamental capstone is formed with horizontally long square, and the square space for entering title is placed on the ornamental capstone. The style of the Tapbi in late Silla period can be examined with the classification by the times, the mid of the 9th century, the latter half of the 9th century, and the former half of the 10th century. Either the style of the monument manufactured a turtle base with a semicircular ornamental capstone in Tang dynasty or the monument of King Taejongmuyeol of unified Silla period has been inherited until the mid of the 9th century. Then in the latter half of the 9th century, the fixed style of a Tapbi of late Silla period is established and the ornamental appearance is prominently noticed, and this continued to the former half of the 10th century. The tradition of erecting a Tapbi originated from the Zen Buddhism has been settled as a tradition in Buddhism after Goryeo. Compared to the fact that the formation of a Tapbi in china has inherited with no transformation from Tang dynasty, the Tapbi of late Silla period has been shown outstanding work from its origin, and redeveloped since Goryeo. In spite of the fact that the first intention of erecting a Tapbi is to leave one's record of achievements, not only the ornamental sculptures of dragon and turtle, but also the diverse patterns give important clues in studying art history of the same period. Even though a Tapbi of late Silla period is observed in this thesis, it lies beyond the boundaries of making stylistic comparison due to the shortage of the remainders from the former period. The advent and change of various icons appeared on the Tapbi need to be further studied in detail.