중국 산동지역 불상과 한국 삼국시대 불상의 교류 관계

Abstract

Relationship between Korean Buddhist Sculpture of the Three Kingdoms Period and Chinese Sculpture in Shandong ? Yang Eun-gyeng This paper explores the relationship between Buddhist sculptures of the Six Dynasties and Sui periods in Shandong Province in China and those of the Three Kingdoms period in Korea, with the emphasis not only on the stylistic and iconographical similarities but also on the relationships of the two regions by sea. ? As is well established, there were no Buddhist caves in the Baekje and Silla kingdoms, and Buddhist sculptures were mostly rock-cut reliefs just as in the Shandong area of China. It is assumed that during the Three Kingdoms period, such rock-cut reliefs were most likely influenced by those of the Six Dynasties and Sui periods in Shandong in their wooden structure form, as shown in the ones at Dansok Mountain and Taean in Korea.? In addition, small bronze Buddha images with boat-shaped halos of the Three Kingdoms period, datable to the sixth century, are quite similar to Shandong bronze images in their halo design, pattern, pedestal type and stylistic features, whereas they reveal various differences from the rock-cut reliefs and stone images of Shandong. It is therefore fair to assume that the Korean bronze images with boat-shaped halos of the Three Kingdoms periods are related to the bronze images of Shandong but have little thing to do with the rock-cut reliefs there.? It is also interesting to note that until the sixth century Three Kingdoms period, the sea-route to China was the "Laotie-shan route(老鐵山水道航路)", which was by and large under the control of Goguryeo, the strongest among the three kingdoms. Later, Baekje and Silla found their own sea route to China called the "Chi-san route (赤山航路)". Whatever their route was, they all headed toward Shandong even when their destination was more southern parts of China.