나주 및 남원지역 협저불상의 제작기법에 관한 고찰
Study on Production Technique of Dried-lacquer Buddha statues in Naju and Namwon
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This thesis examines features of production technique shown in six Dried-lacquer Buddha statues produced in the 14th-16th century, which have been inherited from Namwon and Naju province in Jeolla-do. The common features are found in the findings: ① that the complete from was made in the clay forming stage to apply the lacquer with baste fiber fabric; ② for a sedentary statue, not the dried-lacquer layer of trunk but the only head part is incised to eliminate soil and ash tree of the prototype; ③ the head-incised part is not stitched but boned with a glue; ④ the similarities include that the interior of the statue being vacant because the clay and the wood core were not replaced after being removed from the prototype; ⑤ that the modeling stage was omitted; ⑥ the hand is mode of wood; ⑦ bead is added to the black pupil of the eye. The features above, revealed through the thesis, are not only those of production technique shown in the current Korean Dried-lacquer Buddha statue, but also dissimilarities from those of the existing Japanese Datsukatsu Dried-lacquer Buddha statues production technique, which have been knows as established theory. This result is thought to mean that inheritances of the Dried-lacquer Buddha statue or acceptances of production techniques were implemented at different times in Korea and Japan, and suggest a possibility that the production techniques and materials used in it might have been adapted and changed along with historical trends, according to characteristics of each country.
Abstract
This thesis examines features of production technique shown in six Dried-lacquer Buddha statues produced in the 14th-16th century, which have been inherited from Namwon and Naju province in Jeolla-do. The common features are found in the findings: ① that the complete from was made in the clay forming stage to apply the lacquer with baste fiber fabric; ② for a sedentary statue, not the dried-lacquer layer of trunk but the only head part is incised to eliminate soil and ash tree of the prototype; ③ the head-incised part is not stitched but boned with a glue; ④ the similarities include that the interior of the statue being vacant because the clay and the wood core were not replaced after being removed from the prototype; ⑤ that the modeling stage was omitted; ⑥ the hand is mode of wood; ⑦ bead is added to the black pupil of the eye. The features above, revealed through the thesis, are not only those of production technique shown in the current Korean Dried-lacquer Buddha statue, but also dissimilarities from those of the existing Japanese Datsukatsu Dried-lacquer Buddha statues production technique, which have been knows as established theory. This result is thought to mean that inheritances of the Dried-lacquer Buddha statue or acceptances of production techniques were implemented at different times in Korea and Japan, and suggest a possibility that the production techniques and materials used in it might have been adapted and changed along with historical trends, according to characteristics of each country.
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