Buddhist Artwork as Political Symbolism: With a Focus on Buddhist Artwork Created in the 920s in Later Paekche
0
조회
0
다운로드
0
인용
0
참고문헌
키워드
초록
This article explores the utilization of Buddhist artwork as political symbolism during the Later Paekche period (892–936). Despite its brief duration, Later Paekche produced diverse styles of Buddhist artwork throughout its reign. After emerging victorious from a battle in 920 that conferred legitimacy upon his claim to the reestablished throne of Paekche, Kyŏn Hwŏn (甄萱, 867–936 CE) created a stone stūpa very similar in appearance to a Paekche-era stūpa. However, after plundering the capital of Silla in 927 and challenging Koryŏ for supremacy, Kyŏn Hwŏn shifted his political goals and proclaimed a new identity as the rightful ruler of a unified Korean peninsula. At that time, all the Later Three Kingdoms of the Korean Peninsula were based on the culture of Silla; thus, after 927, Later Paekche created Buddhist artwork based on the style and technology of Silla as a cultural symbol to unite the Later Three Kingdoms.
Abstract
This article explores the utilization of Buddhist artwork as political symbolism during the Later Paekche period (892–936). Despite its brief duration, Later Paekche produced diverse styles of Buddhist artwork throughout its reign. After emerging victorious from a battle in 920 that conferred legitimacy upon his claim to the reestablished throne of Paekche, Kyŏn Hwŏn (甄萱, 867–936 CE) created a stone stūpa very similar in appearance to a Paekche-era stūpa. However, after plundering the capital of Silla in 927 and challenging Koryŏ for supremacy, Kyŏn Hwŏn shifted his political goals and proclaimed a new identity as the rightful ruler of a unified Korean peninsula. At that time, all the Later Three Kingdoms of the Korean Peninsula were based on the culture of Silla; thus, after 927, Later Paekche created Buddhist artwork based on the style and technology of Silla as a cultural symbol to unite the Later Three Kingdoms.
참고문헌 (58)
- 미륵사 유적발굴조사보고서 Ⅰ, "문화재관리국", National Research Institute of Cultural Heritage, ~ (1989)
- 정인지, (2001), Sinsŏwon
- Fujiwara no Akihira 藤原明衛, (1918), Kokusho Kankōkai
- Kamo Sukeyuki 鴨祐之, (1897), Keizai Zasshisha
- 김부식, (1998), Han’gilsa
- "국립문화재연구소", NRICH, ~ (2004)
- "국립문화재연구소", NRICH, ~ (2014)
- , 1053
- 제석사지 발굴조사보고서 Ⅰ∙Ⅱ, "국립부여문화재연구소", PNRICH, ~ (2013)
- 진정환, "후백제 불교미술의 특징과 성격", Tongak Misulsahak, 11, pp.157~188 (2010)
- 진정환, "Iksan, new center of research on Mahan and Paekche", pp.157~198 (2014), Sŏgyŏng Culture Co
- 진정환, "고려전기 신양식 석불의 전개와 조성배경", Misulsahak Yŏn’gu, 287, pp.5~27 (2015)
- 진정환, "후백제 불교조각의 대외교섭", Paekche Yŏn’gu, 61, pp.147~175 (2015)
- 진정환, "후백제왕 견훤의 900~901년 언행의 의미", Chŏnbuk Sahak, 57, pp.115~147 (2019)
- 진정환, "후백제 주도 세력의 변화와 그 영향", Sillasa Hakpo, 51, pp.47~75 (2021)
- 조인성, "미륵신앙과 신라사회", Chindan hakpo, 82, pp.35~52 (1996)
- 조법종, "후백제 견훤의 역사계승인식", Sahak yŏn’gu, 58 · 59, pp.483~494 (1999)
- Choe, Songeun, "Buddhist sculpture of Wu Yüeh, 907–978: Chinese sculpture of the tenth century", PhD, pp.1991
- 최성은, "당말오대 불교조각의 경향", Misulsahak, 4, pp.161~191 (1992)
- 최성은, "봉림사지 석조삼존불상에 대한 고찰", Pulgyo misul yŏn’gu, 1, pp.45~61 (1994)
- 최성은, "후백제지역 불교조각 연구", Misulsahak Yŏn’gu, 204, pp.33~69 (1994)
- 최성은, "나말여초 소형금동불입상 연구", Misul Charyo, 58, pp.1~24 (1997)
- 최성은, "석불∙마애불" (2004), Yegyŏng
- 전용호, "익산 왕궁리유적의 사찰 운영에 대한 재검토", Yŏksahak Yŏn’gu, 60, pp.51~92 (2015)
- 정성권, "나주 철천리 석불입상의 조성시기와 배경", Sillasa Hakpo, 31, pp.225~272 (2014)
- 주경미, "중국의 아육왕탑 전승 연구", Tongyang kojŏn yŏn’gu, 28, pp.369~408 (2007)
- 한정호, "익산 왕궁리 오층석탑 사리장엄구 연구", Sillasa Hakpo, 16, pp.149~195 (2009)
- 한주성, "익산 미륵사 가람배치의 고려시대 변화 특성에 관한 연구", PhD, pp.2011
- 허흥식, "고려불교사연구" (1990), Ilchogak
- Hurst, G. Cameron, "‘The Good, The Bad and The Ugly’ : Personalities in the Founding of the Koryŏ Dynasty", Korean Studies Forum, 7, pp.1~27 (1981)
- Kang, Hugh H. W, "Wang Kon and the Koryŏ Dynastic Order", Han’guk munhwa, 7, pp.161~176 (1986)
- 김종명, "한국 중세의 불교의례: 사상적 배경과 역사적 의미" (2001), Munhak kwa chisŏngsa
- Kim, Jongmyung, "Buddhist Rituals in Medieval Korea (918–1392)", PhD, pp.1994
- 김낙중, "고대 고창 지역 정치체의 성장과 변동", Honam kogo hakpo, 56, pp.150~181 (2017)
- Kim, Lena, "Art of Korea", pp.250~293 (1999), Metropolitan Museum of Art
- 김병남, "신라의 백제부흥세력 공략 과정과 의미", Han’guk Kodaesa T’amgu, 28, pp.253~284 (2018)
- 김상현, "백제 무왕대 불교계의 동향과 미륵사", Han’guksa Hakpo, 37, pp.7~31 (2009)
- Kim, Youn-mi, "The Companion to Korean Art", pp.87~106 (2020), Wiley
- McBride, Richard D., II., "Why did Kungye claim to be the Buddha Maitreya? The Maitreya Cult and Royal Power in the Silla-Koryŏ Transition", Journal of Inner and East Asian Studies, 2(1), pp.37~62 (2004)
- 문안식, "후백제 전쟁사 연구" (2008), Hyean
- "Bijutsu Kenkyū 美術硏究", 1993, 1~23
- "Bijutsu kenkyū 美術硏究", 1993, 223~242
- 박현숙, "외교문서를 통해 본 후백제와 일본의 외교 양상", Yŏksa Hakpo, 236, pp.145~173 (2017)
- 신호철, "후백제 견훤정권 연구" (1996), Ilchogak
- 송아름, "익산 미륵사의 입지와 불탑 축조", Paekche Hakpo, 42, pp.35~58 (2022)
- 성춘경, "전남의 불상" (2006), Hagyŏn Munhwasa
- "Kaogu Xuebao 考古學報", 1978, 25~38 (1978)
- Vermeersch, Sem, "The Power of the Buddhas : The politics of Buddhism during the KoryŏDynasty(918–1329)" (2008), Harvard University Press
- Vermeersch, Sem, "The Wiley Blackwell Companion to East and Inner Asian Buddhism", pp.63~83 (2014), Wiley
- "Kokugakuin Zasshi 國學院雑誌", 2016, 1~17
- 양정석, "미륵사지 탑지의 조사과정에 대한 검토", Hankuksahakpo, 36, pp.357~395 (2009)
- 이도학, "후백제의 전주 천도와 미륵사 개탑", Han’guksa Yŏn’gu, 165, pp.1~30 (2014)
- 이도학, "후백제 진훤 대왕" (2015), Churyusŏng
- 이도학, "후삼국시대 전쟁 연구" (2015), Churyusŏng
- 이도학, "후백제사 연구" (2022), Hagyŏn Munhwasa
- 윤덕향, "익산의 선사와 고대", pp.425~449 (2003), Mahan·Paekche Munhwa Yŏn’guso of Wŏn’gwang Univ
- 윤세원, "정치적 상징으로서의 육왕탑에 관한 연구", Han’guk Pulgyohak, 72, pp.255~282 (2014)