동국대학교박물관 소장 〈금동아미타여래삼존상〉

다국어 초록 (Multilingual Abstract)

This study examines the <Amitabha Triad> of Dongguk University Museum, a Buddhist sculpture from the late Goryeo period. The triad consists of Avalokiteśvara, Kṣitigarbha, and Amitābha Buddha, with the inclusion of attendant monk figures and miniature Buddhas, making it a distinctive example of Buddhist sculpture. The one-sutra triad(一經三尊) or multiple-sutra multiple-images(多經多尊) composition features five figures connected by lotus stems extending from the central Buddha's lotus pedestal. This structure reflects its continuity with traditional elements found in the cave sculptures of the Sui and Tang dynasties, as well as the Buddhist relief carvings of the Unified Silla period. This suggests that the one-sutra triad format continued to be transmitted and developed during the late Goryeo period and was actively produced during the transitional phase between the late Goryeo and early Joseon periods.
Moreover, the composition of the Amitābha, Kṣitigarbha, and Avalokiteśvara triad reflects shifts in religious beliefs and social contexts, serving as evidence of the widespread Pure Land Buddhism of the time. Therefore, the <Amitabha Triad> of Dongguk University Museum provides crucial insight into the stylistic transition of Buddhist art from the late Goryeo to the early Joseon period.
Although parts of the aureole and two miniature Buddhas are missing, the <Amitabha triad>, attendant monk figures, and three miniature Buddhas remain relatively intact, allowing for a comprehensive understanding of the sculpture's original form. The figures exhibit a blend of traditional stylistic elements from late Goryeo Buddhist sculptures and Yuan-Tibetan influences. The principal Buddha, Amitābha, follows the drapery conventions typically found in late Goryeo sculptures, while the jewelry and headdresses of Avalokiteśvara and Ki;;itigarbha reflect characteristics of Yuan-Tibetan styles. These elements serve as valuable comparative materials for research on Buddhist sculptures from the late Goryeo to early Joseon periods influenced by Ming-era Tibetan styles.
The overall composition maintains a symmetrical arrangement centered around the principal Buddha, yet variations are evident in detailed expressions. Both Avalokiteśvara and Kṣitigarbha are seated, but their drapery and adornments differ. Between them, the attendant monk figures are placed in a standing posture. The aureole features seated miniature Buddhas in various postures, including lion-seated(獅子座), elephant-seated(象座), and half-seated(半跏坐) forms, showcasing a diverse range of iconography. This demonstrates that the <Amitabha Triad> of Dongguk University Museum was not merely a replication of earlier traditions but an innovative work embodying creative reinterpretation.
In conclusion, the <Amitabha Triad> of Dongguk University Museum is a unique Buddhist sculpture that synthesizes stylistic elements from Unified Silla, late Goryeo, and early Joseon periods, highlighting its artistic originality and significance. The integration of various stylistic elements within a single sculpture makes it an essential reference for the study of Korean Buddhist sculpture. It is hoped that this work will continue to be examined in future research, not only in the context of late Goryeo Buddhist art but also across diverse academic perspectives.