한국 불교미술 연구의 새로운 모색 -이미지: 도상과 기능의 소통을 위하여
New Approaches in Korean Buddhist Art Studies: Image, Iconology, and Function
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Buddhist art in East Asia basically functioned as religious objects, largely different from works of art created for purely aesthetic purposes. So did Korean Buddhist art. It had various functions as religious art. The usage of Buddihst art was wide-ranging from objects for ritual and worship to visual narratives of the Buddha’s life created for the education of lay men and women. Given that the functions of Buddhist art are diverse, it cannot be understood completely without considering its complex ritual context. More attention has to be given to how Buddhist images were created and used within the specific context of Buddhist religious practices and rituals. Buddhist rituals have been largely neglected in the previous studies of Buddhist images that have been concerned primarily with stylistic analysis and iconography. In this essay, I have proposed some new ways to understand Buddhist art. Firstly, we have to use Buddhist ritual manuals as a means of examining the relationship between Buddhist rituals and Buddhist images. Buddhist ritual manuals are of great importance in highlighting how Buddhist images were used in Buddhist rituals. Secondly, iconological studies of Buddhist images must consider their functions and uses. This leads us to rethink why and how the specific iconographic program of Buddhist images was created. It also helps us to reconstruct the environment in which the iconography of Buddhist images was inseparable from their functions. Thirdly, we have to pay more attention to the original context of Buddhist images. Most studies of Buddhist images have been based on our imagination and assumption. Buddhist paintings, sculptures, and architectures must be treated as a whole in order to understand how Buddhist art functioned in a specific religious context. Lastly, we must take interdisciplinary approaches to Buddhist art. The theory and method of anthropology, sociology, religious studies, and cultural studies will be of great help in reaching a comprehensive understanding of how Buddhist images were made and used as religious objects.
Abstract
Buddhist art in East Asia basically functioned as religious objects, largely different from works of art created for purely aesthetic purposes. So did Korean Buddhist art. It had various functions as religious art. The usage of Buddihst art was wide-ranging from objects for ritual and worship to visual narratives of the Buddha’s life created for the education of lay men and women. Given that the functions of Buddhist art are diverse, it cannot be understood completely without considering its complex ritual context. More attention has to be given to how Buddhist images were created and used within the specific context of Buddhist religious practices and rituals. Buddhist rituals have been largely neglected in the previous studies of Buddhist images that have been concerned primarily with stylistic analysis and iconography. In this essay, I have proposed some new ways to understand Buddhist art. Firstly, we have to use Buddhist ritual manuals as a means of examining the relationship between Buddhist rituals and Buddhist images. Buddhist ritual manuals are of great importance in highlighting how Buddhist images were used in Buddhist rituals. Secondly, iconological studies of Buddhist images must consider their functions and uses. This leads us to rethink why and how the specific iconographic program of Buddhist images was created. It also helps us to reconstruct the environment in which the iconography of Buddhist images was inseparable from their functions. Thirdly, we have to pay more attention to the original context of Buddhist images. Most studies of Buddhist images have been based on our imagination and assumption. Buddhist paintings, sculptures, and architectures must be treated as a whole in order to understand how Buddhist art functioned in a specific religious context. Lastly, we must take interdisciplinary approaches to Buddhist art. The theory and method of anthropology, sociology, religious studies, and cultural studies will be of great help in reaching a comprehensive understanding of how Buddhist images were made and used as religious objects.
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