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박도화 한국불교미술사학회 ( 구 한국미술사연구소 ) 2002 강좌미술사 Vol.19 No.-
Despite the suppressive policy on Buddhism in the 15th century, earlier period of Joseon Dynasty, a lot of Buddhist projects were initiated by the Royal Court. At that time many Buddhist texts were publsihed under the sponsorship of queens, princes and princesses. Therefore, the woodblock prints of the Buddhist texts at that time are rated the best among the prints of the Joseon Dynasty, because they were produced by the best technicians including painters and wood engravers. King Sejo who was a devout worshipper of Buddhism, established an organization dedicated to the publication of the Buddhism, established an organization dedicated to the publication of the Buddhist texts, Gan-gyeong-do-gam(刊經都監), and published many Buddhist texts in the latter half of 15th century. After his death in 1471, the Gan-gyeong-do-gam was abolished, and there was no more official publication of Buddhist texts. Then the Buddhist texts were published and sponsored chiefly by Queen Grandmother Jeonghee(貞憙大王大妃) and Queen Mother Insu(仁粹大妃); the former was the grandmother of King Seongjong(成宗) and the latter was his mother. The Buddhist texts which contain woodblock print illustration are the Myobeop-yeonhwa-gyung(妙法蓮華經), 1470), Jijangbosal-bonwon-gyung(地藏菩薩願經, 1474), Yeonyom-mita-doryang-chambeop(禮念彌陀道場懺法, 1474), and Jabi-doryang-chambeop(慈悲道場懺法, 1474). They were published and sponsored by Queen Grandmother Jeongheee together with a number of princes and princesses. They all contain the postscript written by Kim su-on(金守溫) and the illustrations were done by Yi Jangson(李長孫) and others. The woodblock print lllustration contained in Myobeop-yeonhwa-gyung is the Yeongsan-wheisang-do(靈山會上圖) which was modeled after the one produced in Gyeonseong-am(見成庵) in 1459. It was the most frequently produced theme among the woodblock prints in Joseon Dynasty. The woodblock pring of Jijangbosal-bonwon-gyung represents the sermon of Sakyamuni in the Palace of Tusita-heaven(兜率天宮) for Lady Maya(摩耶夫人), mother of Sakyamuni. Yeonyeonm-mita-doryang-chambeop talks about the way of repentance while reading the Sutra of Amitabha and worshipping the Three Buddhas of the past, the present, and the future. The woodblock print illustration of this text represents nine Buddhas; seven Buddhas of the past, Amitabha Buddha(阿彌陀佛) of the West, and Maitreya Buddha(彌勒佛) of the Future. The woodblock print illustration of Jabi-doryang-chambeop represents eight Buddhas except Amitabha buddha from the above-mentioned nine Buddhas. All of then have Buddha illustration on the upper part and the names of each Buddhas on the lower part. For the two former illustrations, the draft was drawn by Yi Jangson(李長孫) and Baik Jongrin(白終隣), a couple of the most famous court painters of that time. The printed publications have in common that they were published in the 1470's with the sponsorship of Queen Grandmother Jeonghee(貞熹大王大妃) and the royal family, dedicated to guiding their ancestors's souls into paradise, and were produced by the painters and wood engravers active in the Court. Therefore, they show similar stylistic features. Figures which had been rendered long and slender in the first half of the 15th century turned sturdy in the latter half of 15th century. And the carving itself was done exquisitely and sharply. The woodblock print illustrations introduced in this article are some of the highest level Buddhist print illustrations in the early Joseon Dynasty. They are evaluated very important because the iconography adopted in those illustrations became the iconography adopted in those illustrations became a tradition throughout Joseon Dynasty. Lastily, they are also significant materials for the study of the cultural exchanges between China and Joseon.