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Çѱ¹½Ç³»µðÀÚÀÎÇÐȸ / v.19, no.3, 2010³â, pp.111-118
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°í´ë µ¿¾Æ½Ã¾Æ »ç¸®ÀåÄ¡¿¡ Ç¥ÇöµÈ °ÇÃàÀÇÀå¿ä¼Ò °üÇÑ ¿¬±¸
( A Study on the Architectural Decorative Expression of the East Asian Buddhist Reliquaries in the Ancient Period ) |
| ±è»óÅÂ; Çѱ¹ÀüÅë¹®ÈÇб³ ÀüÅë°ÇÃàÇаú;
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| The Buddhist reliquaries of these 6 Reliquaries(áæ×ùÞÑ, ÊïëÚÞÑ, ÛöÚ¦ÞÑ, ÌÔߣÞÑ, ÓÐôýð«ÞÑ, Ûö×ÌÞÑ è¬õùñ·í), when compared with those of China, Japan and Korea in the same period, they worshiped the Buddhist reliquary as a Buddhist God itself and put them as a part of the architectural decoration, being installed in the construction forms. In the form and the composition of the architecture, we can see those having been designed with very detailed and brightly decorated form. The Buddhist reliquaries in the Song-Lim-Sa, Kam-Eun-Sa, Famensi, Qingshansi, Toshodaiji, and the Horyuji Tamamushi Zushi, the most important ones in this research, were in the precious tent and the inner and outer Coffins shapes having completely the altar part, interior space part, and the ceiling part, which inform us the whole structure of the architecture in details. After all these researches, we conclude that the Buddhist reliquaries in form of the Treasure-architecture represented the architectural style of the same period as a form of industrial arts and we can see that they tried to use all of their highly skilled and talented methods to describe the Buddhist Pure Land. |
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| »ç¸®ÀåÄ¡;»ç¸®;µ¿¾Æ½Ã¾Æ °í´ë°ÇÃà;°ÇÃ౸¼º;°ÇÃàÀÇÀå;The Buddhist Reliquary;Sarira;Ancient Architecture in Eastern Asia;Architectural Composition;Architectural Decorative Design; |
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Çѱ¹½Ç³»µðÀÚÀÎÇÐȸ³í¹®Áý / v.19, no.3, 2010³â, pp.111-118
Çѱ¹½Ç³»µðÀÚÀÎÇÐȸ
ISSN : 1229-7992
UCI : G100:I100-KOI(KISTI1.1003/JNL.JAKO201029848352424)
¾ð¾î : Çѱ¹¾î |
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| ³í¹® Á¦°ø : KISTI Çѱ¹°úÇбâ¼úÁ¤º¸¿¬±¸¿ø |
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