전환기의 불교조각: 나말려초 불상의 새로운 경향

Abstract

This paper investigates Buddhist sculpture from the late ninth century to the first half of the tenth century. The political and social changes of this period brought changes in social status of patrons of Buddhist images. In the eighth century, making of Buddhist images were generally supported by royal families and aristocrats of the capital Gyeongju(慶州) area, the center of Buddhist art and artisans. In the late ninth century powerful clans in the provincial areas also became patrons for Buddhist art. From the ninth century, head temples of Nine Mountains Seon sects(九山禪門派) were being erected in local areas where a few Buddhist images, most likely cast in iron, were enshrined. Iron became a popular medium for Buddhist images from the ninth century to the early tenth century for economic and social reasons. It was cheaper than bronze, easier to made an image from than wood or stone, and stronger than clay. From the late ninth century, the Buddhist art center was not limited to the capital Gyeongju, and such local areas of powerful clans and new capitals of the Late Three Kingdoms period as Wonju(原州), Gaesong(開城) and Jeonju(全州) are assumed to have became new centers for Buddhist art. Artisans who had worked in Gyeongju, most likely moved to other areas to find new projects. Contemporary Unified Silla styles of Buddhist sculpture were mixed with local style as well as new styles and iconography of late Tang Buddhist art. It is worth noting that a variety of style and unique iconography shown in the Buddhist sculpture of that time well exhibit the decentralization of the power of the country during this transitional period.