호류지(法隆寺) 헌납보물 아스카시대(飛鳥時代) 금동불상 재고 - 조형과 제작기법 측면에서의 상호관련성을 중심으로

Abstract

Among the Gilt-bronze buddhist statues among the Hōryūji Treasures(法隆寺 獻納寶物), forty nine statues are from the Asuka(飛鳥) and Hakuhō(白鳳) periods. Twelve of the Gilt-bronze buddhist statues from the Asuka period are classified as Buddhist statues imported to Japan from Korea(渡來像); Tori-style statues(止利式像) similar to those produced by Tori(止利, ?-?), who is said to be Japan’s first busshi(佛師); and Non-Tori style statues(非止利式像) with different characteristics. They have been major subjects of interest in Korean and Japanese studies. The Korean academia mainly estimated the country of origin of Buddhist statues imported to Japan from Korea or paid attention to them in comparison with the Gilt-bronze buddhist statues in the Three Kingdoms. On the other hand, Japanese academics, who had been conducting research from the early ages, looked closely at the classification method of the Gilt-bronze buddhist statues among the Hōryūji Treasures and each statue’s formative and casting technique characteristics. However, through the differences and similarities of these three groups of statues classified as contemporary, there was little interest in how they were related or the meanings these statues had in the overall process of Buddhist statue production in 7th-century Japan. In this thesis, the study of the Gilt-bronze buddhist statues among the Hōryūji Treasures, which had not been introduced in detail in Korean studies before grasping it, was reviewed along with Korean academic research to synthesize the study results of both Korea and Japan. Afterward, the formative and casting technique characteristics of the Gilt-bronze buddhist statues of the Asuka period among the Hōryū-ji Treasures and Japan’s local and international conditions in the 7th century were examined, leading to the reconsideration of their significance in the context of Japanese Buddhist art history. Since early times, it has been known that the four Buddhist statues imported to Japan from Korea among the Hōryūji Treasures were formatively and technically different from Buddhist statues made in Japan in the 7th century. The body’s natural proportions, the Buddha statue’s clothing, and the thin shape of the Pensive bodhisattva were similar to those made in the Korean Peninsula in the 6th and 7th centuries. Technically, only some had hollow-casting types(中空式) or solid-casting types(通鑄式), and many air bubble holes can be found throughout the statue. In addition, the copper component was a copper-tin alloy with low lead content or pure copper. These characteristics were also similar to other Buddhist statues imported to Japan from Korea. In the case of the four Tori-style statues, the relatively short body proportions, the Buddha statue’s unnatural clothing, the rectangular face, the thick folds of the clothes, and the symmetrical shape were observed. Technically, the entire statue was hollow-casting type using a copper-tin alloy with a low tin content, and traces of removing the iron core were confirmed, and there were almost no air bubble holes throughout the statue. These characteristics were in common with the statues produced by Tori busshi or related to them. The four Non-Tori style statues were highly related to the Buddhist statues imported to Japan from Korea. In terms of formativeness, the body proportions and the Buddha statue’s clothing were natural, Pensive Bodhisattva’s body shape was slender, and an asymmetrical expression was observed. Technically, only some of them were made according to hollow or solid casting types, or there are many air bubble holes throughout the statues, and only copper-tin alloy with low tin content was not used. However, as an exception, in the case of <N-156 Pensive bodhisattva>, the characteristics of Tori-style statues were also confirmed to have traces of iron core removal or the use of a copper-tin alloy with low tin content. As such, Non-Tori style statues, which have the characteristics of both Buddhist statues imported to Japan from Korea and Tori-style statues, seem to have been born against the social background of the unification of the Three Kingdoms of Silla(新羅) in the mid-7th century and the Isshi Incident(乙巳の變) in Japan. It is because statues that can be referred to as Tori-style were not to be produced when the Soga clan(蘇我氏), supporters of Tori busshi, perished following the Isshi incident. Moreover, because of the unification of the Three Kingdoms, many refugees from Goguryeo(高句麗) and Baekje(百濟) crossed over to Japan. In a situation where Tori-style Buddhist statues were not circulated, it is possible that, at that time, sculptors of Buddhist statues in Japan referred to the molding of Buddhist statues imported to Japan from Korea. In addition, it is also confirmed that ancient settlers originally from Korea(渡來人) and their descendants worked in the environment of making Buddhist statues in Japan. Therefore, it was assumed that the alloy ratio of copper and various casting techniques, which cannot be identified by the naked eye, were used in the production of Non-Tori style statues. Furthermore, the crafting of the Gilt-bronze buddhist statues in the Hakuhō period.