Сакральне чи декоративне? (Зміна функцій буддистської пластики в XVII столітті)
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Дата
2024
Науковий керівник
Укладач
Редактор
Назва журналу
ISSN
2410-2601
E-ISSN
Назва тому
Видавець
Акваторія
Анотація
Одними з контроверзійних для атрибуції культурних артефактів буддистського мистецтва є сакральна пластика XVII століття. Саме в цей час у країнах Східної Азії, незважаючи на різні соціально-історичні та світоглядні процеси, буддистське мистецтво стає значно більш декоративним і доступним для більшої кількості людей. Сакральна пластика виглядає сакральною, але перестає бути уніфікованим, храмовим елементом буддистського мистецтва. Її іконографія майже наслідує закриту для загалу систему канонів, але її функції все більше зміщуються в площину декоративного, у сферу краси.
У цьому дослідженні запропоновано новий етап диференціації буддистського мистецтва, що дозволить у майбутньому краще зрозуміти структуру його безмежного універсуму і потенційно вплинути на незаконну торгівлю творами мистецтва.
In the 17th century, Buddhist art in East Asia underwent significant changes, becoming more decorative and accessible to broader audiences. Sacred plastic arts, while maintaining a sacred appearance, increasingly shifted away from being exclusive temple artifacts. Their iconography partially adhered to canonical rules but began serving decorative purposes, reflecting broader social and cultural processes. This study introduces a differentiation within Buddhist art that aims to clarify its structure and address issues such as illegal art trafficking and artifact authenticity. Sacred artifacts are created by masters adhering to canonical rules and rooted in Buddhist philosophical traditions, while decorative art, produced by commercial artisans, lacks such affiliations. While both forms represent Buddhist art, the former embodies its spiritual essence, and the latter adapts it for everyday use. Buddhist plastic arts, often medium to large bronze or wooden sculptures, reveal distinct characteristics where deviations from canonical rules are visually apparent. Sacred plastic arts involve not only external forms but also internal content, such as Bokjang (腹藏物) – dedicatory materials placed within sculptures during their creation or rituals. For example, the 13th-century Korean sculpture Gwaneum Bosal (관음) reflects canonical practices outlined in the Josanggyeong (造像經, Sutra on the Creation of Buddha Images), while decorative replicas lack such depth. This differentiation is essential to distinguish temple art from ritual but noncanonical decorative works. By identifying canonical nuances, such as adherence to sacred texts and philosophical foundations, it becomes possible to trace the transmission of sacred artifacts and mitigate speculation in the art market. Despite its complexity, this division clarifies the structure of Buddhist art, removing the “noise” created by decorative adaptations and reinforcing its philosophical core.
In the 17th century, Buddhist art in East Asia underwent significant changes, becoming more decorative and accessible to broader audiences. Sacred plastic arts, while maintaining a sacred appearance, increasingly shifted away from being exclusive temple artifacts. Their iconography partially adhered to canonical rules but began serving decorative purposes, reflecting broader social and cultural processes. This study introduces a differentiation within Buddhist art that aims to clarify its structure and address issues such as illegal art trafficking and artifact authenticity. Sacred artifacts are created by masters adhering to canonical rules and rooted in Buddhist philosophical traditions, while decorative art, produced by commercial artisans, lacks such affiliations. While both forms represent Buddhist art, the former embodies its spiritual essence, and the latter adapts it for everyday use. Buddhist plastic arts, often medium to large bronze or wooden sculptures, reveal distinct characteristics where deviations from canonical rules are visually apparent. Sacred plastic arts involve not only external forms but also internal content, such as Bokjang (腹藏物) – dedicatory materials placed within sculptures during their creation or rituals. For example, the 13th-century Korean sculpture Gwaneum Bosal (관음) reflects canonical practices outlined in the Josanggyeong (造像經, Sutra on the Creation of Buddha Images), while decorative replicas lack such depth. This differentiation is essential to distinguish temple art from ritual but noncanonical decorative works. By identifying canonical nuances, such as adherence to sacred texts and philosophical foundations, it becomes possible to trace the transmission of sacred artifacts and mitigate speculation in the art market. Despite its complexity, this division clarifies the structure of Buddhist art, removing the “noise” created by decorative adaptations and reinforcing its philosophical core.
Опис
Ключові слова
буддистська сакральна пластика, буддистська філософія, мистецтво Сходу, філософія Сходу, функції ритуальних артефактів, бокджан, бодгісаттва, Buddhist sacred plastic arts, canonical vs. decorative art, Bokjang, Avalokiteśvara, Gwaneum Bosal, East Asian Buddhist traditions
Бібліографічний опис
Золотарьова К. Сакральне чи декоративне? (Зміна функцій буддистської пластики в XVII столітті) / К. Золотарьова // Δόξα / Докса : зб. наук. пр. з філософії та філології / Одес. нац. ун-т ім. І. І. Мечникова, Одес. гуманіт. традиція. – Одеса : Акваторія, 2024. – Вип. 1(41) : Креативні індустрії в сучасній культурі. – С. 202–209.
УДК
130.2+730+242