朝鮮時代 梵鍾의 銘文分析과 梵鍾 佛事의 所任

Abstract

The first type of Korean-Buddhist bell was originated from the Shil-la Dynasty. It is possible to know this by the looks and process of how it was made. There are several ways that have paved the way for the masters to do. To be more specific, a wax casting process, hull process, stipple process, pattern paneled process and other methods were used in this era. The methods have changed little by little throughout the time and different cultures mixed from dynasty to dynasty. However, at the Joseon dynasty, the style of making bell has been drastically changed, containing meanings and background of why a bell is made for. In 15th century, Royal Buddhist temple bell has quite features that show Bhuddism. The contents of the inscription of the Buddhist temple bell of 16th century were related of real process of the Buddhist temple bell, and through the inscription of <Gabsa temple bell> it suggests first that Manggwollye was carried out among the common people and surmises the Buddhist card existed at the first of the Joseon dynasty. Other than those mentioned above, the existence of <White porcelain temple bell of written Anguksa> shows the evidence that Bhuddhism bell were produced in the beginning of the Joseon dynasty. On the other hand, at the end of the Joseon dynasty, the purpose of bells were shifted from the noble people to mid level class people. Words such as ‘A gentle and easy death, an easy passage into eternity’ and other religious words were inscribed on the surfaces of bells. In 17th century, laymen and monks had clear boundary that shows a hierarchy. And the designation became little simpler, the tepmple community had appeared to maintain this simpler mode though. In the 16th century, Monk bell master was given the name of the Hwawon, and Private bell master was given the name of Jugong. Both of Monk bell master and Private bell master used the name of the painter of Painting bureau. However, mostly Private bell master called Pyeonsu or Yanggong as well. The appellation of the master shows the masters’ social position, the position was highly ranked at that time, because the bell masters were conferred the post of honor, a similar position to the 3rd position such as dignitary of Tongjeong-daebu and General of Jeolchung early than other contemporary masters in the 17th century. However, the activity of Monk bell master was not very viral when Private bell master was active to do their work in the 18th century. Monk bell master used the name of the painter of painting bureau for a number of times when they used Yanggong, very rarely. This basically portrays that there was a strict rules between their positions of Do-Pyeonsu and Sang-Pyeonsu. Besides, the bell master received the bureau honor called dignitary of Ga seondaebu, which was as high as the position of Jung ipum. By examining the bhuddist bells in the Joseon dynasty, it is possible to know the particular cultures and situations such as the offering of items, the tepmple communit, offers and others of the era. Furthermore, to study the name of the bell master, it asserts that the position of the bell master was highly recognized throughout the Joseon Dynasty. To conclude, I hope that this essay becomes a touchstone for you all to understand the crafts for Bhuddism.